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The article focuses on Thomas Nashe's potential role as a balladeer for printer John Danter, arguing that Nashe likely authored many of Danter's printed ballads. It highlights how Nashe, known for his sharp wit and prolific writing, had a close working relationship with Danter between 1592 and 1596, a period when Danter produced more than half of Nashe's printed works.

Ballad is one of the main genres of folk literature. If we look at the ballads of any nation, we can see the similar views of the folk poets. The Eastern Bengal Ballads, and The English and Scottish Popular Ballads, which have different origins, have some similarities and dissimilarities. Both the oriental and the occidental ballads share the same characteristics in some respects and differ in others. The Eastern Bengal ballads have the atmosphere of their own. Similarly, the English and Scottish popular ballads exhibit an atmosphere which is their own. The Eastern Bengal ballads have some special qualities for which they are unique from other ballads of the world. Likewise, The English and Scottish Popular ballads are a separate genre of literature for their individualistic characteristics. This paper attempts to make a comparative study on The Eastern Bengal Ballads, and The English and The Scottish Popular Ballads. [ABSTRACT FROM AUTHOR]

Research in different fields of political culture of subordinates in the history of Iran is very important. The ruling groups, in their narrative of the current situation, always claimed the prosperity of the country and the satisfaction of the subjects. The public should have challenged this narrative and shared their narrative with their equals. But this action required a media, a media that is immune from the supervision of the lord of power. What the masses of the people had at their disposal were various forms of popular culture. How the masses use these formats and choose some of them as a tool for informing is a point worthy of attention that should be investigated. Accordingly, this study aims to investigate the pre-constitutional period in the Qajar era, analyzing how folk ballads found media capability, and how the ballad media found political function in the face of the common people with the ruling elites. Our assumption is that the melodiousness of the folk songs and ballads, their short meters, the humor and the simplicity of the interpretations and descriptions, facilitated their memorization and encouraged the audience to transmit them, and the speed of their publication was also increased. On the other hand, the oral nature of this media allowed the speaker to see feedback and reactions. Audiences could also make their own changes in expressions or themes, which would, thus, become an interactive medium. In subordinate's political activism, folk songs and ballads escaped censorship due to their oral nature, and spread the information that subordinates disseminated through their media and strengthened horizontal links between the masses. This gave media the possibility of changing and manipulating the themes and expressions of the democratic facet ballad. The medium of folk songs and ballads had the function of granting social status and consolidating social norms like any other media that subordinates used against dominant groups. [ABSTRACT FROM AUTHOR]

"Why the child speaks, or how to talk about violence: The example of the Estonian infanticide ballad “Mareta’s Child”". The lyroepic runosong type “Mareta’s Child” tells the story of a secret sexual encounter between a young unmarried peasant woman and a man of higher social status. The encounter leads to pregnancy and might involve money and/or broken promises. Acting either on his advice or on her own initiative, the woman conceals her pregnancy and abandons the newborn child in the forest, where another woman from the same community finds it. Miraculously, the child starts to speak and reveals its parents. Drawing on the concept of positioning as developed by Rom Harré and Luk van Langenhove, the article explores how the newborn’s preternatural intervention questions and changes, even if temporarily, what can be said about whom, and who can say it. The child speaks so that the female protagonist and the community could address and contemplate breaches that are felt and witnessed but not discussed: powerful men taking sexual advantage of women of lower status, female sexuality and sexual agency, money, infanticide, delusions of social mobility, collective shame and (ir)responsibility. The multivalent poetic language of runosongs is crucial here, as it enables and even encourages multiple interpretations and positions simultaneously. The article also examines the use of direct speech as a marker of decisive moments and turns in the narrative. These formal features, along with the dramatic plot, suggest that “Mareta’s Child” is best approached as a ballad. Rich with characters, conflicts and perspectives, it problematizes the relationship between narrative and violence and highlights the difficulties of discussing acts and experiences of violence.

The lyroepic runosong type "Mareta's Child" tells the story of a secret sexual encounter between a young unmarried peasant woman and a man of higher social status. The encounter leads to pregnancy and might involve money and/or broken promises. Acting either on his advice or on her own initiative, the woman conceals her pregnancy and abandons the newborn child in the forest, where another woman from the same community finds it. Miraculously, the child starts to speak and reveals its parents. Drawing on the concept of positioning as developed by Rom Harré and Luk van Langenhove, the article explores how the newborn's preternatural intervention questions and changes, even if temporarily, what can be said about whom, and who can say it. The child speaks so that the female protagonist and the community could address and contemplate breaches that are felt and witnessed but not discussed: powerful men taking sexual advantage of women of lower status, female sexuality and sexual agency, money, infanticide, delusions of social mobility, collective shame and (ir)responsibility. The multivalent poetic language of runosongs is crucial here, as it enables and even encourages multiple interpretations and positions simultaneously. The article also examines the use of direct speech as a marker of decisive moments and turns in the narrative. These formal features, along with the dramatic plot, suggest that "Mareta's Child" is best approached as a ballad. Rich with characters, conflicts and perspectives, it problematizes the relationship between narrative and violence and highlights the difficulties of discussing acts and experiences of violence. [ABSTRACT FROM AUTHOR]

Our study is a detailed examination of the folklore of the Suciu Valley in the conservative microzone of the Land of Lăpuș. Our first topic is the area's geographical and historical aspects, including its settlements, neighboring regions, historical documentation, and residents' occupations. The research focuses on the main folkloric categories in the microzone's heritage, such as carols, focusing on those containing elements of great antiquity. We also discuss choruses of different carol categories. Additionally, we briefly cover lullabies, wedding ceremonial poetry, and wails. Furthermore, we address other significant folklore categories like ballads and incantations. We pay special attention to folk poetry due to its artistic significance. The study concludes with a discussion of rhapsodists and performers of musical and instrumental folklore, emphasizing the various types of folklore they interpret. [ABSTRACT FROM AUTHOR]

The article focuses on the studying of the ideological and artistic features of the creation of a female image in Anglo-Scottish ballads. The study aims to investigate Anglo-Scottish ballads peculiarities and to analyze the female characters presented in them. The distinguishing characteristic of female characters in Scottish poetry based on gender theory, feminist and analytical research methods has been researched. The article highlights that the female character evolves along with poetry, the new worldview of the authors. In different literary time, female characters performed different functions, and the gender issue, to one degree or another, was always manifested in the works of writers; the female character always served as the embodiment of certain ideal views of the author about the world.

Adam Mickiewicz’s poetry attracted many composers, but it left the most noticeable trace in the work of Stanisław Moniuszko, who turned to lyrical poems, ballads, sonnets, as well as excerpts from the poems Konrad Wallenrod and Dziady. Fragments of them were also used by the composer in romances included in various issues of his Home Songbooks (Śpiewnik domowy), and as a result, the texts of Mickiewicz accompanied Moniuszko from the very first works to those published posthumously. The composer’s works based on Mickiewicz’s poems, like the original source itself, represent completely different forms and genres, but they are all in the halo of Polish romantic creativity and one aesthetic and patriotic concept. The purpose of the work is to consider various ways of implementing the ballad genre and the genre of musical portrait in Stanisław Moniuszko’s chamber-vocal works based on Adam Mickiewicz’s poems. Among Moniuszko’s numerous appeals to Mickiewicz’s poetry (more than 20 works), the sixth issue in the series of Home Songbooks, written entirely on the poet’s texts, stands out. A special place in it is occupied by the ballad Fish (Rybka, 1859) based on the text of the poet’s youth work of the same name, representing the composer’s chamber vocal style in the most perfect form and written with a truly symphonic scope. The dynamic musical narrative follows all the twists and turns of the plot, its dramaturgy is based on the comparison of contrasting images, direct speech, dialogues of the characters, and replicas from the author, embodying the specifics of the poetic original. The influence of ideological and aesthetic views associated primarily with folklore and patriotic themes, the poetics and topos of Mickiewicz manifested itself in many ways in Moniuszko’s chamber-vocal works, which allows us to draw conclusions about the synthesis of meanings and symbols characteristic of romantic art.

This article argues that women poets writing in the Harlem Renaissance marshaled the communal connotations of ballad form and genre to enter covertly into and influence the masculine domain of Black cultural nationalism. The elasticity of the ballad enabled Georgia Douglas Johnson, Helene Johnson, and Gwendolyn Bennett to articulate a subject position wherein Black women could contribute to the effort to cultivate a New Negro consciousness as Black women poets. This reading shows that the respectability politics of their conventional poems overlay demands for racial and gender justice and sovereignty. [ABSTRACT FROM AUTHOR]

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The article examines the ballad as a genre prevalent in the works of Scottish poet-emigrants to the United States in the nineteenth century. The novelty of the study is connected to the comparative aspect of the study and the material of the study. The folklore ballad "Clyde Water" and the ballad of Scottish poet-emigrant H. Ainslie, "Willy an’ Ellen" are compared, and the integral and differential features of the Scottish ballad are determined at the motif, plot-character, and chronotopic levels. Common to both ballads is unequal love, innocent lovers, their deaths, the motif of separation, and the water that implements this separation, the motif of "love to the grave". In H. Ainslie’s ballad, the motif of separation has a more hysterical tone, which is quite expected for an emigrant poet. The occurrence of a large number of similarities proves the vitality and relevance of the folklore tradition even in conditions of emigration.

The Victorian bourgeois ballad is a distinctive genre that demonstrates the spirituality of religion transferred to the drawing room. This paper will examine in detail four examples of the genre—The Lost Chord, The Holy City, Arise O Sun and The Volunteer Organist to examine the spirituality of the genre in terms of the materials used, the musical construction, the value system underpinning it and the expressive character. It will interrogate their relationship to the spirituality of Victorian Anglicanism and the place of this spirituality in the lives of the people with whom they were popular and its role in their social life, drawing on the author's own experience. It was also a genre in which women excelled and this and the notion of spirituality will be examined culturally, drawing on Foucault's notion of subjugated knowing. [ABSTRACT FROM AUTHOR]

Italian translation of Zhestokii romans by Evgenii Kostiukhin.

This article provides analyses of the versification and rhythmicmelodic features found in a collection of ten ballads originating from the Teleorman folklore region. An analysis is conducted on the types of verses and linguistic features found in the old songs. The emphasised lexical characteristics include syllabic additions, apocope or syllabic elision, anacrusis, and rhyme. The melodic and rhythmic elements are conveyed through the sound systems of the ambitus, the architectural structure, and the epic recitative. An identifiable feature showcased in the ballad is the appoggiatura. The sound systems consist of five modes, three of which having variations. Regarding the architectural form, we identified ten distinct variants for each of the analysed samples, having noticed that the ballad has a free, improvisatory architectural form. Recitative can be categorised as recto-tone recitative, melodic recitative, and parlato or fairy tale recitative. The appoggiaturas included in the ballad serve as a distinctive feature of the performer's uniqueness. The appendices provide the 10 ballads that are the topic of this article. [ABSTRACT FROM AUTHOR]

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In this article, we will introduce the concept of trans-regeneration: the way in which a traditional discourse (in this case a folk ballad) may be manifested as different texts as the story that it contains is told and retold both over time and over space. Our aim is to illustrate this process with the example of a wellknown English-language ballad Geordie (of uncertain origins), and how, in its lifespan, it has undergone numerous changes in content both in the various English and non-English versions as it has been appropriated and performed by artists in many other languages. We will argue that, because of its distinct nature, it is useful to describe such a process with a distinct term, trans-regeneration, which differently to terms like transcreation, takes into account the important artistic considerations underlying the choices made by the various rewriters and performers. Finally, we will describe a case study where Albanian-speaking students participated in a workshop analysing the various trans-regenerations of Geordie based on Christiansen (2022) and were invited to produce their own version in Albanian, thereby becoming themselves not just spectators but also actors in this process. [ABSTRACT FROM AUTHOR]

Approximately sixty lyrical songs were inscribed into the Folklore Archive of the National Museum during the field research in Brcko conducted by Bosnian writer and folklorist Alija Nametak as an employee of the Institute for Folklore Research in 1956, including a ballad about a mother who sacrificed her son to save her brother's life. This moving ballad has been inscribed at least twice more in Bosnia's north, and two variants of this song were recorded in Derventa - they are included in a large collection made by Smajl Bradaric and kept in the National Museum of BiH's Folklore Archive. The National Museum and the BiH Slavic Committee collaborated to publish this collection (Bradari 2018). The mentioned ballad was also discussed in Munib Maglajlic's 1985 study "Muslim Oral Ballads," in the section entitled Conflict in the Family, indicating its importance, but also a solid number of variants throughout Bosnia (Maglajlić 2018). The variants presented here, however, were not the subjects of Maglajlić's analyses, even though he found as many as nine versions of this ballad from various sources for his study. This paper will use the method of three-variant ballad promotion to see the oral poet from Bosnia's north in action. It will try to show and highlight the poetic achievements of the "northern" variants. The poetic shaping of key motifs will be considered in each recorded variant, and the difference between them will be established. Methods of interpretation and analysis will be used.

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When Transylvanian bishop János Kriza published Vadrózsák [Wild roses], his collection of Székely folklore in 1863, he was soon to be hailed as "the Hungarian Percy." The ballads seemed to provide a solid foundation for literary nation-building and their significance was confirmed by rival claims of Romanian cultural nationalism, leading to the so-called "Wild rose controversy" or Heidenrösleinkrawall. However, before he became a ballad collector, Kriza published a number of remarkable translations, including songs from Ukraine and Lithuania, Scottish songs by Robert Burns, as well as William Wordsworth's poem on Highland ballad singing, "The Solitary Reaper." Recent studies have started to reveal the extent to which balladeering had been, from the eighteenth century onwards, an international affair. This paper looks at Kriza's work and its Scottish connections through the lens of comparative literature and media theory. It takes its starting point from the "untranslatable" auditory qualities of folk songs and ballads, arguing that these played a crucial role in nineteenth-century thinking about the nation. The configuration of sound, nation, and translation is traced from Herder's Volkslieder through Kriza's work and its reception to the Acta Comparationis Litterarum Universarum, edited by Kriza's fellow-Transylvanians Hugo von Meltzl and Sámuel Brassai. The problem of the multi-medial nature of songs and ballads is central to all these projects: while Herder struggled to record the "voices of the people" in translation, Meltzl proposed the use of the phonogram to preserve their living sounds. Between the two, Kriza's work invited critics to re-think questions of authenticity and oral transmission, leading to the re-valorisation of poetic form and the study of folklore in a comparative framework. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With more than 150 years of history since the term ballad was rooted on the territory of Romania, the old traditional folk song encapsulates a wide variety of epic works. This is a declamatory genre that is sung only when requested in front of a repertoire-savvy, engaged audience that empathises strongly with the performer, resulting in a powerful communal experience. Ballad is part of the folk genres that necessitate a musical accompaniment, performed by violin and kobza or violin and dulcimer, and is found not only in Teleorman County, but across the entire Greater Wallachia territory. There are two vocal styles, according to Emilia Comișel: the syllabic style and the melismatic style. Using Alexandru Amzulescu's classification of ballads, we attempted to identify the primary categories of ballads found in the area we wished to study: fantastic, heroic, pastoral, related to the feudal court, family, and oral journals. Regarding the analysis of popular verse structure, a melodic line corresponds to a verse. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of responsibility in non-ritual lyric-epic folklore. The poetic macrosphere of lyric-epic folklore reflects the multifaceted spiritual universe of the Ukrainian ethnic group, mental peculiarities, features of the national character, historical aspects of social development, and various transformational processes. Forms of rational and irrational understanding of the world were revealed in the folklore text, which influenced the formation of a special sociocultural paradigm. In traditional non-ritual poetry, the world itself, in all its inexhaustibility of interpretations, appears as the center of an axiological system, an unchanging value in man's understanding of all that exists. The broad information content present in the texts of traditional culture contributes to the realization of communicative efficiency, which helps to socialize and differentiate between essential and non-essential. The poetic system of the lyric-epic song represents the features of the structuring of a complex anthropological model. In the collective memory, exceptional events were imprinted, which reveal the actualization in the folk consciousness of precisely the moments of the destructive nature of an individual's irresponsibility for the consequences of his own actions. The article highlights the concept of "attachment of responsibility": everyone must be responsible for their actions. Through the multifaceted artistic macrosphere of the song, a number of important interpretations of the essence of moral responsibility in the axiological sense are revealed. An irresponsible act causes a corresponding reaction on the part of individual individuals, merging into a general moral and ethical assessment by the entire community. Thus, through the folklore image of the traditional lyric-epic song, the folklore idea of the uniqueness and uniqueness of human life, which is included in the living memory of other people, their experience and the spiritual world, is transmitted. [ABSTRACT FROM AUTHOR]

The purpose of the work is to identify the Biedermeier features of thinking in F. Chopin's large forms in the embodiment of the ideas of the spiritualised "light" play of the noble salon gatherings in memory of the historical Greater Poland. Such a heroic and melancholic background of Chopin's presentation of his achievements, especially within large forms, inspired the understanding of the thought orientation (according to I. Belza) of his thinking. The research methodology is the intonation vision of the genetic unity of musical and speech principles in the development of the concept of B. Asafiev and B. Yavorsky based on the works of D. Androsova, O. Markova, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutical perspective of the intonation approach, as well as with the advancement of methods -- biographical and descriptive, with emphasis on the intellectual-biographical aspect for the sake of accuracy of interpretive indicators of the analysis of works, analytical and structural as a concentration of musicological specificity of thematic and constructive features of compositions, interspecies stylistic comparative for understanding the interactions of artistic and scientific-religious tendencies in the environment of F Chopin. The scientific novelty of the work is determined by the reliance on Biedermeier's concept of "the big in the small" in the analysis of the large ballad forms, especially with regard to the initial Warsaw and late periods, the time of the composer's formation and final search. Conclusions. Biedermeier draws out the underestimated tempo-factual essence of Chopin's presentation of those forms that, in high tempo playing, "dematerialised" the theatrical variegation of expression in favour of bringing the Ballades closer to the thoughtful, i.e. lyric-epic forms. The latter appear prolonged in the hallelujah complex of Chopin's ultra-fast playing as a representative of spiritualised salon light pianism, with its distancing from existential drama in favour of the glorious lyricism of the "pearl" fioriture of sound in the spirit of the passage figurativeness of old church singing. The parallel of F. Chopin's thoughtful thinking with his contemporary and passionate confessor of the national idea T. Shevchenko's poetic and thoughtful content of the genre expression of large-scale compositions is noteworthy. [ABSTRACT FROM AUTHOR]

In this article, on the basis of the method of comparative analysis, the author examines the phenomenon of piano interpretation, touching upon the issues of performing interpretation using examples of the treatment of F. Chopin’s Ballad No.1 by three of the greatest contemporary pianists – A. Rubinstein, K. Zimerman and S. Neuhaus. The variability of perception of this work in their interpretations once again raises the problem of objectivity and subjectivity of performance, the degree of freedom of the performer. The interpretative and stylistic contrast of interpretation presented in the work allows us to consider some of the features of the evolution of piano traditions in the 20th century.

Although the nature of the ballad is not inherent to deal with the so-called historical events and historical figures, we can see from some examples that this oral literary genre is not unfamiliar with topics based on real people and true events, and even those of wider social significance. The Bosniak oral ballads discussed in this paper, show that the so-called historical ballads do not fundamentally betray history, although they reshape and poetically upgrade it in detail, following the poetic requirements of the genre to which they belong. Ballads about the Morić brothers and the death of Hifzi-beg Đumišić can provide a basis for claiming that the Bosniak historical ballad is, in fact, a medium of collective historical memory and that it sometimes chronically and surprisingly accurately remembered the circumstances of the actual events of wider socio-historical importance.

Ballads are often among the bestselling songs of heavy metal and hard rock bands. Within these genres, ballads represent a way to address emotions such as love that are not part of the primary self-understanding of those genres. Still, "genre ideals and style" often seem to be at odds with the sentimental aesthetics of the ballad and its emotional expression and experience. In this article, we take a close look at the sonic, textual, performative, visual, and emotional-somatic articulation of love and the generation of sentimentality in three selected metal ballads. Even if the term "power ballad," which is often used in reference to hard rock and metal ballads, refers to the simultaneity of "heaviness" in the sound and the thematization of love in the lyrics, sentimental ballads in the stereotypically more masculine-connotated genres nevertheless create friction and skepticism in their discursive evaluation, as they generate aesthetic discrepancies between concrete songs and genre conventions. Their quantitative popularity contrasts with their qualitative evaluation. Therefore, in a second step, we analyze the reception of the selected ballads, in particular their discursive evaluations in music reviews, in order to point out the ways of argumentation through which frictions are established. As a result, we show that evaluations are related to how love is addressed in the songs and to the extent of proximity of the ballads to genre rules. [ABSTRACT FROM AUTHOR]

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In the folklore culture, improvisation can be found within works belonging to three distinct branches, which also are in syncretic relation: the literary, musical, and choreographic branches. The doina and the ballad combine, in different ways, both poetic and the musical improvisation. The genres represented by the doina and the ballad – lyrical and epic, determine the structural and interpretative essence of both species. The poetic content is a defining element for the ballad, because between the melody and the poetic content, the latter defines the genre of the work – the epic genre. On the contrary, in the doina, the melody is in the forefront. In terms of content, however, both species can approach the same subjects. From a musical aspect, both the doina and the ballad are focused on free improvisation, based on the combination of some established traditional musical elements. This often leads to confusion in the interpretation of the given works.

This essay considers the genre and reception of Scott's 'Jock of Hazeldean' in its association with Child Ballad 293, as an independent poem, and as a song. This opens questions of what is meant by a ballad (since Jock of Hazeldean does not actually appear in the song ostensibly about him), and of the nature of the text as such. Paradoxically, shifting the originally Scottish location to England moves the work closer to a traditional Scottish ballad. Scott's piece has existed and continues to exist in a number of different forms. The brief work has gone from folksong origins (in the single verse which Scott reworked) to become first a formal and parlour song and then a folksong again, subject to the variations of oral transmission. Modern technology and the availability of recordings (some with a visual dimension) through the internet now offer increased possibilities for investigation into the reception of the work. [ABSTRACT FROM AUTHOR]

The article concentrates on interpreting Pavol Országh Hviezdoslav’s (1849 – 1921) ballads – the part of his oeuvre which has only been investigated marginally so far. His ballads from the late 19th and early 20th centuries (U kaplice [At the chapel], Zuzanka Hraškovie [Zuzanka Hraškovie], Anča [Anča], Margita [Margita], Studnica [The well], Smelá Katka [Daring Katka], Topeľci [Drowned], Jedlica [Fir tree], Krivoprísažník [False witness], Mladá vdova [Young widow], Matúš Stolár [Matúš Carpenter]) adapt some of the traditional themes of folk and Romantic ballads (crime and punishment, moral failure, folk customs), but also bring new motives (the search for the spiritual path from pragmatic truth criteria, property disputes and unorthodox solutions to life problems, social and economic disparity and its effects). Comparison of Hviezdoslav’s ballads with those written by Slovak poets of the Romantic period Janko Kráľ and Ján Botto shows his authentic realist attitude in the handling of the genre. Hviezdoslav accentuated the epical side of the narratives, employing several means of representation (on the level of the narrator and on the level of the structure of the stanza and verse). He realised the lyrical side of the narratives, their balladic atmosphere – also through the functional structure of the verse – but primarily through expressive, lyrical depictions and commentaries.

The article is a contribution towards interpretations of Ján Botto’s (1829 – 1881) ballad Žltá ľalia ([Yellow lily] 1849, published in a magazine in 1860). It tackles the resonances between the Slovak Romantic poet’s poem with Lenore (1774), a ballad written by the German poet Gottfried August Bürger (1747 – 1794). It draws on comparatist works of the Slovak literary historian Zlatko Klátik and the Polish researcher Maria Janion, but also on literary-historical research that takes into account the specifics of Slavic versions of the motive of Lenore. The article dwells mainly on the female persona, primarily on the model set by Bürger, but also on other intertextual variants in Slavic poetry. Based on Botto’s ballad, the author identifies the Slovak variant of the motive of Lenore. This variation derives from folk literature, but simultaneously draws on some of the basic features of the Romantic imagination – the intertwining of the world of the living with the world of the dead and the presence of mysterious elements in everyday worldly life experience. Intertextual relations between the Slovak poem and Bürger’s Lenore, textual development of the female persona in the two texts and the position which female personas attain in Romanticism by way of accentuating feminine otherness are the central themes tackled in the article.

The study of selected examples from Prisonnier desconforté shows the significance of the literary heritage used by the poet. This can be seen in Ballade des proverbes, inspired by Villon, and through the assimilation of Psalms 102, both of which place the “I” of the Prisoner in the foreground. Meanwhile, the multiple morphological effects on prefixes, on the scale of an eighth or in the entire text, contribute to the author’s style. The modern publisher should render these marks left by the author in the author’s language as best as possible.

The paper considers the poetics of Russian poetess of New York emigration Lydia Alexeeva. The genre specificity of her poems that combine traditions of the ballad and the consideration of the big city as a system of hints and effects of suspension going back to the mood of futurism is established. Unlike other Russian poets of New York, Alexeeva has turned the ballad both as a genre base for organizing an emotional narrative and as a source of unexpected plot solutions. Her ekphrasis turns into a pilgrimage ekphrasis that fits the movement through the museum into the general movement through the big city, thanks to the emotional effects it allowed her to come to terms with the hardships of life in exile.

The article emphasizes the folklore-inspired work of the poet Petre Dulfu. At first, I reproduced a brief description of his native village, in the patriarchal form, as during the poet's lifetime. I alluded to the influence that country life had on his work. The investigation part of the study consists of folk genres and species that inspired his work: the short story, snoavă (the anecdote), and the legend. We dwelled more on "Păcală's Exploits", his masterful work, full of stunts, adventures, mishaps, and jokes from which healthy humour breathes. I also referred to the volume of folk inspiration "Doine și lăcrămioare", which "revived his creative imagination". [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

One of the most frequently analyzed texts in Bulgarian literature is the story „Indje by Yordan Yovkov. What is striking, however, is the large number of contradictory theses and conclusions, each of which claims to give the most adequate interpretation of the meaning laid down in the text. This turns „Indje“ into a real case that requires an adequate solution. The proposed article attempts to analyze these numerous contradictions, and then, on the basis of a detailed narratological analysis, to describe the receptive paradigm adequate for the story. Particularly complicated is the problem that „Indje“ is in fact a retelling of various songs and legends, but the narrative is conducted from a witness‘s point of view. In addition, the restored memory of the past is expressed in the structure of the work through three different genre paradigms, each of which has its specifics and social function. What reading behavior will allow the most adequate reading of the impact potential set in the text? [ABSTRACT FROM AUTHOR]

The present study seeks to address the main obstacle in the research of the folk song in eastern Yiddish—the lack of documentation of texts, melodies, and contexts from before the end of the nineteenth century, and the almost complete lack of reliable informants. Based on extant documentation as well as research in neighboring traditions, and conducting a dialogue with a monumental unpublished dissertation by the Soviet musicologist Sofia Magid on the folk ballad in Yiddish (1938), the article outlines three different styles in the eastern Ashkenazi balladic repertoire: the old Yiddish ballad, the German "medieval" ballad that had been absorbed into Yiddish-speaking society since the end of the eighteenth century, and the new sentimental urban ballad. The discussion focuses on the style of the songs from the first group and traces their historical development, poetics, music, social functions, performance by men/women, and interrelations with the printed songs in old Yiddish. The focus on the old ballad as a distinct phenomenon of the early modern East Ashkenazi culture is achieved through examining narrative motifs, rhythmic patterns, and melodic contours. This scrutiny reveals how the aesthetic foundations of the international ballad genre—such as impersonal contemplation of emotional responses to pivotal events in daily communal life, and openness to absorbing diverse poetic and musical elements—contributed to the formation of its premodern eastern Ashkenazi oicotype in the small towns, at the crossroads between the western European heritage, the Slavic environment, Jewish narrative and musical traditions, and the Ashkenazi way of life. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Appalachian music is a result of creolization, or cultural exchange, between Irish, Scottish, English, German, African, and Native American cultures. While this applies to many cultural aspects and items, we focus on cultural expectations and practices revealed through ballads. This song form provides insights to not only musical traditions, but storytelling and folklore as life lessons. In this paper, we analyse Lord Thomas and Fair Ellender and explore the idea of the evil women in Appalachian ballads, specifically, what it is that makes a woman "evil." Is it supernatural, true nature, or are they driven to it by circumstances? [ABSTRACT FROM AUTHOR]

The article analyzes Victor Paskov's story “The Ballad of Georg Henich”, following the four genre paradigms that build its unique composition. These paradigms are: ballad, story, memoir and passion. Each of them has its own way of processing the life material, its own composition and way of building the images of the main characters, its own way of posing the artistic problem, as well as a specific way of impact and social function. Despite the differences between the four genre paradigms clearly present in this book, its semantic world is emphatically unified. This unity is ensured by the fact that the idea of truth underlies all four genre models. In essence, this book observes four ways of presenting and evaluating the truth, which are so organically intertwined that they form a unique, harmonious and emotionally convincing whole. [ABSTRACT FROM AUTHOR]

Copyright of Vox Romanica: Annales Helvetici Explorandis Linguis Romanicis Destinati is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, we will look at the evolution of a traditional ballad into the modern popular folk song recorded most notably by the American folk singer Joan Baez (1941-) with subsequent adaptations in English by other artists (i.e. Sandy Denny and the Collins sisters) as well as translations into other European languages: French, Italian, and Danish. Our aim is to illustrate how, over time, artefacts from popular culture are subject to constant change and recontextualisation as each artist and each generation come to appropriate them and impose their own interpretations upon them. We shall examine this process with translation, looking at how rewriting and re-performing in different codes leads not only to re-encoding but also to re-interpretation within different cultural and socio-political frames. [ABSTRACT FROM AUTHOR]