• Jue. Oct 21st, 2021

Comentario de texto literario de a un olmo seco

Comentario de texto literario de a un olmo seco


‘When I was asked to make a medal for this prestigious literary prize, I started from a number of classic starting points. First, the format: after visiting the Rijksmuseum’s medal collection and the curator of the medal cabinet, it was clear to me: the medal would be 6 mm thick with a diameter of 60 mm. In the middle I wanted an opening of 3 mm, which gives the possibility to provide the medal with a ribbon, so that you could also hang it.’
Conceptually, I knew right away that I didn’t want a ‘sculpture’, but a design with text. My choice fell on the generally accepted beginning of our literary history HEBBAN OLLA VOGALA NESTAS HAGUNNAN HINASE HIC ENDA THU WHAT UNBIDAN WE NOW. I wanted to type this text on the medal in a contemporary way. I purposely chose not to use a medieval handwriting, but a form, so that these very special letters in themselves form a modern image. I placed the text in a circle. The temptation is then great to reduce the size of the text as the words move towards the center, so I did precisely not do that. The font is the Gill Sans. Because the design is to be cast in bronze, I chose a sharply drawn letter. The text is not recessed, but rises and is given an extra shiny accent in a dark patina.


That is a first reason to greet with joy the publication of a Norwegian survey of Dutch literature. Moreover, when one notices that the book was written by a specialist who has won his spurs as a neerlandicus – Vondel expert, specialist in the rederries, tireless translator and introducer of Flemish and Northern Dutch works and, by day, professor of Dutch in Oslo – one takes the book in hand with full confidence. And one is not disappointed, and is delighted that Norwegian readers are informed of the significance and coherence of Dutch literature in such an expert, enthusiastic, convincing and smoothly written way.
The main thrusts and major options of this overview may not quite coincide with the traditional Dutch view and approach. But that seems to me – a literature specialist but only slightly a neerlandicus – more a compliment than a reproach. What are those great options? Proving that «literature in the Low Countries» (author has very emphatically chosen that precisition) performed a leading function during the Middle Ages, that the rederijkerstoneel is a unique European phenomenon, underestimated and largely unknown, that Vondel was the great dramatic Baroque genius from Europe, that Flemish (Southern Dutch) literature was the dominant one within the framework of the Dutch during most of the 800 years mentioned in the title, and is underestimated and minimized, that modern Dutch literature possesses a number of authors who made a European contribution, even if they are not known or little known abroad.

Comentario de texto literario de a un olmo seco online

The letters by and to Erasmus (1469-1536) that still exist today were from the outset intended for publication. They were therefore a kind of essays in which the Rotterdammer and his friends illuminated certain themes. They dealt, for example, with the upbringing of girls, with the rise of Protestantism, with true piety, etc. The modern standard edition of the letters from and to Erasmus counts 3162 letters. At the time of his life 1200 of these were already accessible in print. From this enormous corpus the editors have now selected fifteen letters by Erasmus which are typical of the thinking of our greatest humanist. A number of them have been translated from Latin into Dutch for the first time. The editors are well-known neo-Latinists in the Netherlands and Flanders. Their translations are easy to read for those accustomed to translations from Latin or Greek. The edition is provided with an excellent introduction per letter, with text commentary, literature, and with a…Read more

Elm tree identification

God planted the ‘tree of knowledge of good and evil’ in the Garden of Eden, from which Adam and Eve ate in defiance of prohibition, and the ‘tree of life’, from which they were not allowed to take anything in their sinful state (Genesis 2:9, in this genitive form still in the NLG translation). This tree of life is used figuratively in Proverbs (15:4, NBG translation): ‘Softness of tongue is a tree of life’. The tree of life plays a role in the mythology and religion of many peoples, among other things, as access to heaven or the underworld. It was also known in the Germanic religion. Trees with other magical powers, such as the tree of knowledge of the good and evil in the wording of the Statenvertaling, are also known from other cultures. Especially in literary texts these trees play a role. See also Fall of Man.
Usage example: And in that dark Gaard [address of the I-character’s dormitory] / I stretched out my hand; I ate / of the tree of good and of evil: / and the verse was revealed to me. (I. Gerhardt, Collected Poems, 1980 (Student Room, s.j.), p. 468)

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