“Blue Universe (flowers of symbiosis)” is a book containing
a love poem, divided into four parts in ascending progression:
from the beholding and idealisation of the Beloved Woman (I);
the approach (II); the discouragement (III); in the end, the full
expression of love happens, with an invitation to the Beloved,
unveiling the full thrill through the accomplishment of love
(IV).
This album was influenced by the “Song of Songs”.
Drawings by ANA PINTO, inspired in this light poetry,
illustrate the idyllic setting and the tension created by this
magic book.
This love poem is an english translation of the original portuguese poem "Universo azul (flores da simbiose)".

Passione e malizia nella canzone napoletana della Belle Époque di Giuseppe Sergi è un contributo importante ad una conoscenza più approfondita della canzone napoletana, perché mette in relazione la componente musicale delle canzoni e i discorsi su di esse, e perché entra nello specifico tecnico di un repertorio sul quale tantissimo è stato detto relativamente alle poesie che intona, alla sua fortuna locale e internazionale, al suo significato sociale e antropologico, ai suoi legami con la storia e con le altre arti, ma ancora troppo poco su come funziona in quanto musica. Ma è anche un contributo significativo all’analisi musicale come disciplina, perché conferma che un’analisi ben fatta non ci fa solo capire come funziona la musica stessa, ma è capace di farci entrare in contatto profondo con quanto sentivano e pensavano coloro che l’hanno scritta e coloro che l’hanno goduta — oltre che con quanto sentiamo noi stessi. (M. Privitera)

George Herbert is widely celebrated for both his musical verse and for his patterned lyrics; but how might we critically engage with these two strands of his lyric technique? This article places George Herbert’s playful lyric poetic in the context of Stuart Masque culture. While these extravagant, secular entertainments are an unusual context against which to set Herbert’s more modest devotional poetic, it argues that Herbert – whose extended family was closely involved in the staging and production of these court events – cannot have been ignorant of this seventeenth-century cultural phenomenon. Building on a contemporary understanding of music as mathematical proportion, this article examines the ways in which the masque ‘staged’ ideas of harmony, in its perspectival sets and in its geometrically choreographed dances. Masque culture offers a rich and particularly vivid contemporary expression of the possibilities of interdisciplinary expression; in turn, it presents a new perspective on Herbert's visually- and aurally-rich lyric performance.

La prima raccolta di Eugenio Montale, "Accordi", scritta fra il 1918 e il 1922, nasce da un’idea che all’autore sembrerà ben presto troppo ingenua: imitare la voce di sette strumenti musicali. Eppure, pur presentandosi effettivamente di livello inferiore a tutta la produzione montaliana, la silloge è un interessante esercizio di transcodifica, di passaggio di impressioni puramente musicali alla parola scritta. Il presente studio sposta l’ago della bilancia: riconsidera la raccolta tentando di esaltare le motivazioni musicali di ciascun componimento che vanno dal puro calco fonetico a quello strutturale. Dopo aver ripercorso Accordi sarà la volta di Corno inglese, unica poesia inserita in "Ossi di seppia", che rappresenta un perfetto ingranaggio di suono e senso, in cui l’intenzione musicale ha una ricaduta non solo a livello formale ma anche sul piano dei contenuti.

Based on French philosopher and professor of aesthetics Étienne Souriau’s concept of “inter-worlds,” that is, realities emerging at the interstices and thresholds of different media, this essay applies a novel multimodal methodology to reveal the importance of music in Florine Stettheimer’s work. By uncovering the presence of tango in Stettheimer’s 1912 sketches for a ballet, and establishing jazz as a central preoccupation in Stettheimer’s painting Asbury Park South (1920) and in her poems “Asbury Park” and “New York,” the author situates popular music at the center of the modernist experience, inhabited by figures like Vaslav Nijinsky, Marcel Duchamp, and Stettheimer. This essay contributes to the knowledge and understanding of popular music in modernism and it introduces a multimodal methodological approach, constituting a model of interdisciplinary scholarship.

Atti del convegno Poesia e canzone dalla Francia all’Europa, 10-13 luglio 2013, Morgex, Centro Studi Storico-Letterari “Natalino Sapegno”

Herbert Avraham Haggiag Pagani nacque a Tripoli da genitori ebrei verso la fine
della seconda guerra mondiale, quando la Libia era ancora una colonia italiana,
testé occupata però dai britannici. Trascorse poi l’infanzia e l’adolescenza fra vari
paesi d’Europa – Austria, Germania, Francia, Svizzera, Italia. A partire dagli anni
Sessanta, dividendosi fra Italia e Francia, divenne un artista poliedrico, cantante,
autore e traduttore di canzoni, scrittore, disegnatore, incisore, assemblatore, disc-jokey,
ma anche attivista sociale e politico. La sua educazione e formazione disparate
e la sua eclettica attività avevano trovato una forte rispondenza di ideali nei
versi di vari chansonnier d’oltralpe come Jacques Brel e Leo Ferré. Pagani si presentò
sulla scena della musica leggera italiana non solo con canzoni originali in italiano
ma anche traducendo nella nostra lingua alcune chanson francesi, fra cui
spiccano «Le Plat Pays» e «Ces gens-là» di Brel (divenute rispettivamente «Lombardia» e «Che bella gente»). Egli le cantava in sintonia con la propria condizione
personale ma anche con certi argomenti generali secondo lui importanti e attuali.
Oltre a costituire una testimonianza autobiografica le parole franco-italiane delle
canzoni di Pagani offrono una chiave di lettura per alcune delle trasformazioni e
inquietudini che caratterizzavano la realtà urbana italiana e francese fra gli anni
Sessanta e Settanta. Esse si trovano riassunte dapprima nel concept-album «Amicizia»
(Italia, 1969) e poi vari dischi successivi, quando Pagani trovò in Francia un
ambiente meno ostile alle sue tematiche, fra cui spicca il concept-album  «Megalopolis» (Francia, 1972; Italia 1973). I medesimi aspetti si possono cogliere negli scritti di Pagani, in particolare nel suo Roman autobiographique, nonché nelle sue opere
visive.

KEYWORDS: letteratura francese; società urbana e popular music; arte; ecologia;
ebraismo; omosessualità; Marco Ferradini.

This is one of a series of entries about the 14th-century Shirazi poet Hafez, this article focused on questions of sound-patterning in his ghazals; poems set to music during the poet's life time vs. "plain" poems; musical terminology in the poems, including for modes, melody, scales, structures, and for sound itself; for musical instruments; for dance and emotive movement in conjunction with poetry; for singers, songs and musicians. It also discusses modern musical versions of the poems as sung in Persian, plus the use of Hafez' poetry in translation in European classical music.

This essay begins with the hypothesis according to which Claude Debussy chose Paul Verlaine’s poems for their innovative character even though within a traditional framework. In his mélodies the Ariettes oubliées (1903), on texts by Verlaine chosen from Romances sans paroles (1874), Debussy dissociates his work from the typical model of the genre of French art song.
However, tonal language is still used as a core basis, with its anchor points
in relevant degrees of a chosen tonality, its cadences and its framework which regulate the musical discourse. The renewal of language, as well as innovation within a known frame, are notable points of convergence between Debussy and Verlaine, which will be studied in parallel. The poetic techniques of contrasts and breaks, and of repetition and sound saturation, enrich new approaches to Debussy research.

The lecture aims to present an overview of 20th century Brazilian vocal music, focusing on art song, folk and popular song and also choral music. To examine these distinct genres of vocal music, we analyse the song as the locus of alliance between word and music.

Le baladas del canzoniere provenzale Q Le baladas del canzoniere provenzale Q Edizioni dell'Orso Le baladas del canzoniere provenzale Q Appunti sul genere e edizione critica Le baladas del canzoniere provenzale Q Appunti sul genere e edizione critica

Accostarsi a un artista divenuto mito poco più che ventenne, autore di cinquecento canzoni e cinquantadue album ufficiali, protagonista di millecinquecento concerti e duecentotrenta apparizioni video, soggetto di centinai di libri critici e di una ventina di biografie è impresa che richiede grande umiltà e giudizio. Tale premessa risulta necessaria per affrontare una riflessione su Tarantula, 1 perché Bob Dylan, come suggerisce Alessandro Carrera, uno dei suoi critici italiani più arguti, «ha smesso da tempo di essere un semplice artista. Ormai è una geografia, un universo semiotico, un'intera cultura concentrata in un unico performer». 2 Il rischio più evidente in cui si possa incorrere addentrandosi nella fitta foresta della dylanologia attuale risiede dunque in una semplicistica miopia critica, nell'indulgere di una celebrazione incondizionata della sua opera omnia, negando talora la discutibilità del valore di alcune sue produzioni. Tarantula, in buona parte, si colloca fra queste ultime.

(Chapter 1 from 'The Given Note': Traditional Music and Modern Irish Poetry) Music and poetry have often been viewed together as both are considered “auditory, temporal and dynamic art forms”. Studies of the relationships between these arts have grown throughout the twentieth century. This was underscored in 1997 with the foundation of The International Association for Word and Music Studies (WMA), dedicated to the promotion of “transdisciplinary scholarly inquiry devoted to the relations between literature/verbal texts/language and music”. However, its relative youth as a field of enquiry is apparent in the disputed nature of its title. Sometimes referred to as “melopoetics”, this term, as Werner Wolf observes, appears “somewhat arcane […] because it implies, or at least suggests, a questionable, not to say misleading, privileging of some aspects of the interrelations between music and words/literature”. Wolf suggests, therefore, that “word and music studies” seems to have gained the upper hand over “melopoetics” in recent years. The use of the term “melopoetics” does indicate, nonetheless, a major focus of the discipline which has often tended to be from a musical, rather than a literary, perspective. It is also, as Wolf notes “a discipline in which the construction of a theoretical and terminological framework has not received due attention”. Where a framework has been suggested, it is focused primarily on the relationship between classical music and literature and gives little consideration to how the performance of music and song of an essentially oral character or in non-classical forms (such as traditional Irish music) may influence a poet’s work. This essay will examine the existing schemas and argue for a more flexible framework, cognisant of research in orality studies, ethnomusicology and recent literary theory, which may offer a more discerning appreciation of how Irish poets are influenced by traditional music.

La legge 22 aprile 1941 sulla protezione del diritto d'Autore, modificata dalla legge 18 agosto 2000, tutela la proprietà intellettuale e i diritti connessi al suo esercizio. Sono severamente vietate la riproduzione, la pubblicazione in rete, anche parziali e per uso didattico, con qualsiasi mezzo, del contenuto di quest'opera nella forma editoriale con la quale essa è pubblicata. Fotocopie, per uso personale del lettore, possono essere effettuate nel limite del 15% di ciascun articolo dietro pagamento alla SIAE del compenso previsto dall'art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633. Le riproduzioni per uso differente da quello personale potranno avvenire solo a seguito di specifica autorizzazione rilasciata dall'editore o dagli aventi diritto. Ogni violazione sarà punita ai sensi di legge.

I develop an approach to the “poetics” of music and
movement, vis-`a-vis language, in the context of
popular Sufism in South Asia. Bringing Michael
Herzfeld’s notion of “social poetics” into creative
dialogue with Katherine Ewing’s notion of the
experiencing subject as a “bundle of agencies,” I
attempt to cope with the problem of “meaning” in a
highly heterogeneous event, the ‘urs in Lahore,
Pakistan, commemorating the death of the Sufi saint
Shah Husain. My pragmatic approach to navigating
through an excess of meanings is to focus on what I
call “common terms of understanding.” The analysis
illuminates how Islam is popularly grounded in
South Asia, more generally, and is suggestive of how
music and movement might be construed as forms of
religiopolitical “embodiment.”

Regarding Edward Elgar's "The Black Knight" (1893), this Paper takes the history and context of the genre "choral ballad" into consideration. Another aspect is the largely negative attitude towards the libretto: Elgar chose Henry Wadsworth Longfellow's translation of the ballad "Der schwarze Ritter" by Ludwig Uhland. Perhaps it is Uhland, whose poetic and linguistic peculiarities are the real reason for these negative opinions.

Μάρη Θεοδοσοπούλου: https://www.tovima.gr/2008/11/24/books-ideas/gymnopaidies-gia-dyo/

ΠΕΡΙΕΧΟΜΕΝΑ
1. Παρίσι, 1888: Οι Gymnopédies του Σατί
2. Παρίσι, 1918-1924: Ένας Έλληνας ποιητής στο Παρίσι
3. Λονδίνο, 1931-1934: Ο διπλωμάτης Σεφέρης και το πάθος του για τη μουσική
4. Αθήνα, 1935: Η Γυμνοπαιδία του Σεφέρη
5. Κάιρο-Αλεξάνδρεια, 1944: «Η πνευματική επικοινωνία Γαλλίας-Ελλάδας»
6. Γυμνοπαιδία, Υ. Γ. – Γενάρης 1945

Επίμετρο
Βιβλιογραφία
Ευρετήριο

"The oldest records indicate that the performance of poetry in Gaelic Ireland was normally accompanied by music, providing a point of continuity with past tradition while bolstering a sense of community in the present. Music would also offer, particularly for poets writing in English from the eighteenth century onwards, a perceived authenticity, a connection with an older tradition perceived as being untarnished by linguistic and cultural division.

While providing an innovative analysis of theoretical work in music and literary studies, this book examines how traditional Irish music, including the related song tradition (primarily in Irish), has influenced, and is apparent in, the work of Irish poets. While looking generally at where this influence is evident historically and in contemporary Irish poetry, this work focuses primarily on the work of six poets, three who write in English and three who write primarily in the Irish language: Thomas Kinsella, Seamus Heaney, Ciaran Carson, Gearóid Mac Lochlainn, Nuala Ní Dhomhnaill and Cathal Ó Searcaigh."

The poetry of Dennis Brutus the anti-Apartheid South African freedom fighter is often an intricate combination of content and form, with its sometimes overt, sometimes covert but pervasive structure of bipartition involving multiple units of paired (often volatile and conflicting) opposites. This paper shall largely explore how skilfully he casts that theme of horror against the contrasting backdrop of music, by which he further stresses the dimensions of the horrific conflicts between victims and victimizers. 

It is the persuasion of this paper that the binary vision of Dennis Brutus is the tacit censorious expression of his creative perspective on the social conflicts in Apartheid South Africa; unspeakable conflicts for whose imperative expression even the devices of music become a (sometimes camouflaging, sometimes accentuating) technical paradigm.

Like a Rolling Stone, pubblicata da Bob Dylan nel 1965, è una pietra miliare del rock e della popular music contemporanea. In questo libro, Mario Gerolamo Mossa indaga per la prima volta tutte le fasi creative del capolavoro dylaniano, dalla sua ideazione fino alle più significative esecuzioni dal vivo, facendo ricorso a numerosi materiali inediti e adottando una metodologia interdisciplinare particolarmente attenta al rapporto tra oralità e scrittura. Come scrive Alessandro Carrera nella prefazione, questo saggio “offre l’analisi più ampia, minuziosa e ossessiva mai condotta di Like a Rolling Stone in qualsiasi lingua”, ricostruendo la storia di una voce che da oltre mezzo secolo affida alla cruciale domanda “Come ci si sente?”, How does it feel?, la ricerca di una verità imprevedibile e transitoria, libera da ogni ideologia come da ogni pregiudizio.

En 1867, el célebre poeta, músico, profesor e ingeniero Diego Fallon Carrión (1834- 1905) inventó un sistema de notación alternativa para la enseñanza musical, fundamentado en la métrica y en las reglas de pronunciación de la lengua castellana. Estaba dirigido a niños, jóvenes, invidentes y músicos aficionados de Bogotá (Colombia) como parte de un ambicioso plan educativo y editorial. A pesar de lo llamativo de su propuesta, el sistema tuvo poca acogida y, pese a esto, es importante considerarlo para comprender el desarrollo de la educación musical pública y privada en el país a mediados del siglo XIX. Esta tesis explica a fondo el contexto cultural y social en el que se desarrolló el sistema; explica sus principios y estudia a Fallon como músico y pionero de la edición musical, valorando las obras musicales que se conservaron en sus publicaciones llamadas por él mismo 'fallongrafías'.

This article is focused on the extra-literary sources of Rosselli’s poetry. I have based my research on the annotated books of the author’s personal library kept in the Fondo Rosselli of Viterbo. Rosselli’s annotations are studied for the first time and they have proved to be essential for the interpretation of her poetry. Rosselli’s aspiration to an universal artwork is reflected in the composition of her library which ranges from musicology, quantum physics, Gestalt psychology, history of art, philosophy and
so on. I explored in particular the influence of musicology and more specifically ethnomusicology, Gestalt psychology, abstractism and orientalism on Rosselli’s poetics, analysing her annotations on
the works of Lily Abegg, Alain Daniélou, Ernesto De Martino, Gillo Dorfles, Matila Ghyka, David Katz, Henry Pousseur.

After 14 years from my first paper (You can find on Academia: Petrarca e la musica del suo tempo), I publish a new hypothesis about the famous Petrarchan madrigal 52. Jacopo da Bologna never met Petrarca, or, if he did, never Petrarca gave him his madrigal. Jacopo in the '60s was probably in Florence, where he intercepted the madrigal spread with the first version of the entire Canzoniere, the so-called 'Chigi version' which contains, in a branch of the textual tradition, the famous variant of verse 6.

This first chapter provides an overview of the four themes of the book that will frame the study of poetry, music and narrative: (1) bilingualism, (2) multicultural knowledge, (3) origins and evolution of the abilities of poetry, music and narrative and (4) the systems and subsystems of cognition that underlie these abilities. The first theme is especially concerned with how language systems interact, among themselves, and then with other kinds of ability. For example, how are the knowledge systems of language and music related and how are they different? Multicultural aspects of poetry, music and narrative will be concerned mainly with the idea of cross-cultural differences (and interactions) and cross-cultural universals. In this case musical ability will provide a good example for studying culture. The problem of origins takes an evolutionary research point of view. Lastly, the study of component systems and subsystems examines the applicability of an important concept from evolutionary science, that of modularity. 1 Introduction: Art in the Voice The problem of how music and literature are related, and how they interact in real life, has a long history. Going back thousands of years, one idea was that the relationship was actually very close; that music and literature sprang forth from the same wellspring. Today, musicologists and linguists have begun to take another look at this relationship, in some ways different and in some ways the same, with a lens borrowed from the branch of psychology that studies cognitive processes. This new appreciation and curiosity has opened another ripe forum for the science-humanities dialogue. Poetry, narrative and music are aesthetic genres that have a number of things in common, even though narrative also includes strictly prosaic and non-artistic forms. Today, we often associate them with literacy, writing and musical notation. But in all three cases this aspect of their reading and (written) composition is completely secondary, secondary from the historical and evolutionary point of view and in how the respective abilities develop throughout the life span of individuals. Possibly, most adults (or depending on how one counts, at least a large percentage), even today, who are skilled and active creators/performers-poets, narrators and musicians-do not read or write. Not that writing and notation are inconsequential-something can be "secondary," in the above sense, but turn out to be important and widespread, with time, even come to be indispensible in some ways. For example, Chapter 4 of this book is mainly about poetry and writing. In music, poetry and narrative, there are purposes for which writing and notation are useful and even necessary. But they are not the primary motivating purposes, at least not the ones that might tell us something about underlying core characteristics. If this idea turns out to be correct, it has important implications for studying how beginning learners experience these genres. What prior sensibility (if such a thing exists) might we possess, from the beginning, that allows us to process music and literature as objects of art? The three genres are also universal: all normally developing individuals acquire, without deliberate instruction, the basic receptive capabilities of each ability and all cultures pass on from one generation to the next their respective repertoire of poems, stories and songs. In this way, the defining sensibilities and skills associated with poetry, narrative and music cross the oral-written "divide" (not a "divide" in the true sense) and cross all cultural boundaries. Upon closer inspection, the apparent exceptions might even be good examples of this generalization. The focus in this book will be on these poetic, narrative and musical abilities, how they develop and how we learn them. What might be some of the primitive components that distinguish one set of abilities from another, and then which components might be shared in common? A better understanding of the nature of these kinds of knowledge and skill, and the

Made in Greece: Studies in Popular Music. Ed. Dafni Tragaki. Routledge 2019, pp. 55-64
SUBCHAPTERS
- From Paris to the "Art-Popular” Song: “My Greek Sensibility Feels More Than Restricted: It Feels Betrayed"
- Ritsos and Poetry "Out in the Clear Open Air"
- Elytis' Axion Esti and Theodorakis' First "Popular Oratorio"
- Seferis' "Arnisi" (Denial) and Theodorakis' "Sto Perigiali to Krypho" (On the Secret Seashore): The missing Semi-Colon, Politics and Artistic Ownership
- Theodorakis and Greece as "a Country of Bards"

Resumo: O texto comenta a dificuldade de se conceituar arte, sobretudo no período contemporâneo, bem como o uso da expressão "Estudos de Intermidialidade" em substituição a "Estudos Interartes". A nova nomenclatura contorna o problema da definição: pode-se questionar o status artístico de certos produtos culturais da pósmodernidade, mas não o fato de que utilizam mídias, o que demonstra a conveniência do termo "intermidialidade" para o estudo das relações entre artes e mídias. No mesmo sentido, o artigo discute a distinção entre objeto artístico e não-artístico, segundo a proposta do crítico e filósofo Arthur C. Danto. Chegase, finalmente, à sugestão do poeta/ crítico Ferreira Gullar: podemos estar testemunhando o nascimento de uma nova arte que é o cinema.

The rusted chains of prison moons are shattered by the sun. I walk a road, horizons change the tournament's begun. The purple piper plays his tune, the choir softly sing; three lullabies in an ancient tongue, for the court of the crimson king.

This study of the genesis of Claude Debussy’s mélodies on poems by Paul Verlaine, which present different versions and several modifications, reveals the importance of the place granted to the adequacy between music and textual enunciation. Beyond the relationship connecting verbal semantics and direct musical illustration, Debussy seems to be really aware of poetical diction from the text’s musicality and metrics, as enhanced by Verlaine. My research, supported by a philological study of the sources – both manuscripts and editions –, concentrates on textual diction. For this purpose, I have used testimonies and theoretical writings from the end of the nineteenth century, as well as the very first recordings of poetry declamation and musical performances. These documents have allowed me to shed light on the importance of prosody, of accentuation, of the interpretative reading of the text in its musical setting. This contribution, focalized on rhythm – a notion at the intersection of poetic text and music – tends to re-insert the reality of the poem’s own diction in the performance of Debussy’s mélodies.

Professor Dr. Lothar Lutze was born in Breslau (now Wrocław) on September 7 th , 1927. Before completing his high school studies at the Oberschule zum Heiligen Geist, he left the city in October 1944 to join the Navy in Stralsund and was involved in some fighting as an infantryman in southern Germany during the last weeks of the War. In 1946 Lothar Lutze's family was reunited near Nauen (close to Berlin), where he passed the Abitur (final high -school examination) in the following year. After working as an assistant teacher at the same school, he moved to West Berlin and there joined the newly founded Free University late in 1948. He specialized in English, German, and Russian philologies and took his doctorate in 1956, with a dissertation on John Webster, the Shakespeare's contemporary. After passing the second state examination in 1958, he was employed as a Studienrat (high -school teacher) at the Paul -Natorp--Schule in Berlin -Friedenau. Simultaneously, he held literary seminars at the Department of English of the Free University. In 1960, Professor Lutze went to India to work as a lecturer in German at the Department of Modern European Languages of Delhi University. During this period, from 1960 to 1964, he started learning Hindi. In 1965 he joined the South Asia Institute of Heildelberg University, and then returned to New Delhi as the local representative of this Institute. He devoted much of his time to introducing modern methods of Hindi second -language teaching, both as the visiting professor at the Department of Hindi of Delhi University, and at the New Delhi Evening School of Hindi (for non--Hindi speakers), founded jointly by him and Dr. Bahadur Singh. After his return to Heidelberg early in 1969, Lothar Lutze joined a team of teachers of modern Indian languages and, in collaboration with them, started building up a Department of Modern Languages and Literatures at the South Asia Institute (SAI), which was to co -operate closely, but independently, with the existing Department of Classical Indology. In 1983 he completed his habilitation in the newly founded discipline -the Modern South Asian Studies. The thesis he wrote was on Hindi Literature in Post -colonial India. Until his retirement in 1992, with an extension until 1994, he paid regular research visits to northern India, including some extended stays, e.g., as SAI Representative in New Delhi and as a visiting professor at Mysore University and the Benares Hindu University. His fields of research and publications have been comparative literature, sociology of literature, the interrelationship between written/printed literature, oral tradition, and electronic media, especially the Hindi film. He was awarded with the Tagore-as well as with the George -Grierson -Prize. For his outstanding contributions to literature and education he received the highest Indian honour, the Padma Shri Award, in 2006. Since 1983 Professor Lutze was invited to Poland several times and gave lectures in Warszawa, Kraków, and Wrocław; in Warszawa he was co -examiner in a doctoral examination. In the academic year 2002/2003, from mid -October to mid -December 2002, he was a visiting professor at the Jagiellonian University. After his visiting professorship, he returned to Kraków several times, giving support and attention to the development of Modern South Asian Studies at the Jagiellonian University. He remained a great friend and a determined ally of this cause even when his health would no longer allow him to travel. For the honour of his invaluable friendship, the warmth and encouragement received from Professor Lothar Lutze we remain deeply grateful.

This essay is focused on what Madelyn Detloff calls « the persistence of Modernism». A comparative analysis of Virginia Woolf’s novel The Waves – an annotated copy of which is kept in Fondo Rosselli in Viterbo – and Rosselli’s poetry shows illuminating consonances between Rosselli’s poetics, themes, stylistic strategies and Woolf’s modernism. Rosselli and Woolf share modernist characteristics such as impersonality, the strict relationship between music and poetry, the same concept of time, the dialogue with Tradition. Besides, Rosselli’s imagery often seems to come from Woolf’s. Rosselli, like Woolf, believed that the role of literature is the representation of experience and the preservation of collective memory as a lasting political and ethical cry for social justice, sympathy and peace.

The lecture presents Ezra Pound’s groundbreaking poetics of translation, which overlaps with his best legacy as a writer and consequent impact on Modernist and contemporary literature. In the understanding that there is no historic sustained translation performance without a conception of language and an idea of culture, beyond examining the creative versions Pound shaped from a variety of tongues (Provençal, Chinese, Latin, and others), I articulate the conception of language that defines his differential approach to literary translation (‘plain meaning’ charged by musical, imagistic or contextual effects), as well as the cultural impact he devised from the task: the ways in which translation, through its very donation of poetic forms of meaning and representation, is able to modify language and culture (strengthening perception, expanding a world-view, reviving voices of the past which criticise and shape the present).

This paper aims to investigate the sense of Paul Celan’s statement about the arrogance of poetry that refers to Auschwitz “under the perspective of the nightingale  or the thrush” in connection with Todesfuge, whose original title was Todestango.  It discusses John Felstiner’ interpretation of the poem  as a direct reference to a tango-song called Plegaria (1929) that was played during the executions at the Lublin camp in order to demonstrate, trough the examination of documents that have not been considered by the critics up to the date, that such Todestango mobilize, unblocks and recreates a broader web of topoi, metaphors and poetical formula  –among which the tragic figure of Margarita that tango inherited  from Charles Gounod’s Faust and Carlos Gardel's El tango de la muerte (1926) are located- where the romantic and operatic lyricism of tango constitutes the consummation, over the domain of mass culture, of the kitsch of death rejected by Celan as nazi poetry.

(Revista Latinoamericana de Filosofía, Vol. XXX, Nº2 (Primavera 2004), pp. 287-312)

Benito Arias Montano wrote around 1572 that Juan de Quirós "was a refined poet and a chaste priest." He had been his teacher of poetry in Seville in 1546-1547, and taught him the poetic and supernatural value of the Biblical Psalms. Quirós had written in 1545 two laudatory epigrams imitating Martial for Pedro Mexia's Historia Imperial, dedicated to the future king Philipp II, and in the 1547 edition of this work appeared an epigram and a sonnet by Montano, who also imitated Martial since 1548 in several epigrams written during his studies in Alcalá de Henares. Two other Latin poems of Quirós are known to us from Montano's quotations of in his Rhetorica. Montano, who considered Quirós as the best poet in Andalusia (Rhet. 3,259-260), had written a laudatory sonnet for Quirós's Cristopatía (Toledo, 1552), which he named with the same Latin words as the title of one of his own works and which also deals with the salvation of mankind: Humanae monumenta salutis (Rhet. 3,268).
Around the middle of the century, both composed biblical paraphrases imitating the new poetry of Boscan and Garcilaso. Both wrote poems for the music book of Miguel de Fuenllana in 1554, and paid great attention to Music both in their poems and singing psalms and sacred hymns or playing the vihuela.  Montano was a laureate poet by the literary jury of Alcalá de Henares on June 22, 1552; and his teacher, who wore the laurel wreath in a portrait printed in January of that same year, was a judge in the literary joust held in Seville on June 29, 1558. Montano's spirituality responds to the same religious conception proper to Christian humanism that shows his teacher's Cristopatía, following the Bible as the main and almost unique source of inspiration and truth. This was the common basis for reconciling all Christians within the Church, which allowed them to maintain an ecumenical doctrine and a tolerant attitude towards Protestants, based on a common goal of regenerating the Christian doctrine, spirituality and moral according to the model of early Christians. These and other coincidences among teacher and disciple, as well as the differences regarding these same literary and religious attitudes, are developed in the present work.

Giaches de Wert è il primo compositore a scrivere madrigali su ottave tratte da La Geru- salemme Liberata. Accade nel Settimo libro de’ madrigali a cinque voci (1581), quando le due ottave che Torquato Tasso giudicava le migliori (XII, 96–97) ricevono una intona- zione musicale. Nell’Ottavo libro (1586), Wert torna ad utilizzare come testo i versi del poema, musicandone dodici ottave. Finora non esistevano studi in grado di spiegare le numerosissime differenze che intercorrono tra l’edizione comunemente conosciuta del capolavoro tassiano e le ottave utilizzate da Wert; l’edizione critica delle opere curata da Carol MacClintock con la collaborazione di Melvin Burnstein non accenna affat- to al problema. Questo saggio lo risolve attraverso un’analisi dei manoscritti di Wert e delle diverse edizioni della Gerusalemme, riuscendo ad individuare le fonti tassiane del madrigalista.