CILICIAN谜语

Michael Pifer
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引用次数: 0

摘要

虽然穆斯林诗人在他们的作品中适应了语言和文化的异质性,但他们并不是唯一这样做的人。第六章考察了亚美尼亚诗人如何从中世纪的最后一个亚美尼亚王国西里西亚周围的伊斯兰文学中改编词汇、体裁、主题、比喻和风格。正如它所显示的,这些诗人通常指示他们的听众在一个明显的基督教解释框架内阅读他们的作品。例如,1173年,亚美尼亚教会领袖圣·纳尔西斯·施诺哈里(St. Nerses Shnorhali)将《圣经》改写为一系列环环相扣的谜语,以训练观众以特定的方式阅读圣经。著名诗人弗里克以一种互补的方式,以一种不同的文学风格,改编和重写了波斯诗歌,指导他的听众在基督教的框架内解读这些诗歌。通过让这些诗人彼此对话,这一章通过文学实践来解读早期亚美尼亚方言诗歌,尤其是注释和引用。正如它所证明的那样,正是这些诗人没有翻译大量文本的方式,使他们能够在基督教成语中重塑不同的文学文化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
CILICIAN RIDDLES
Although Muslim poets accommodated linguistic and cultural heterogeneity in their compositions, they were not alone in this practice. Chapter 6 examines how Armenian poets adapted vocabulary, genres, themes, tropes, and styles from Islamicate literature around medieval Cilicia, the last Armenian kingdom. As it shows, such poets generally instructed their audiences to read their compositions within a distinctly Christian interpretive frame. For example, St. Nerses Shnorhali (d. 1173), the head of the Armenian church, rewrote the Bible as a series of interlocking riddles that train an audience to read scripture in a particular manner. In a complementary manner yet a different literary register, the celebrated poet Frik adapted and rewrote Persian poetry, directing his audience to interpret these poetics within a Christianizing framework. By bringing these poets into dialogue with one another, this chapter reads early Armenian vernacular poetry through the literary practices that shaped it, such as gloss and quotation in particular. As it demonstrates, it is precisely the ways in which these poets did not translate wholesale texts that enabled them to recast different literary cultures within a Christian idiom.
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