Embellished in the middle by a great guitar solo. "No Quarter (Page - Plant)" (11:51) You read that correctly: a cover of the famous Led Zeppelin song! And introduced by flute and piano! They manage to do quite a nice job! Emila's voice is, of course, heavily effected (it has to be!). ![]() A pop ballad that is not very proggy until the Hackett-like sustained guitar note and soulful flugelhorn in the fourth minute, Simply beautiful. Incredibly moving melodies coming from Emila's soothing voice. "Ciągle Czekam (List Z Pustyni II) / Still Waiting (Letter from the Desert II)" (4:51) synth wash and muted snare open this before piano, bass and drum kit establish a gentle, spacious, and beautiful tapestry to support Emila's front and center vocals. The music that follows is powerful, beautiful, excellent prog perfection. "List Z Pustyni I / Letter from the Desert" (6:08) a great exposition of progified World Music, starting with the wonderfully hypnotic Arabian a cappella vocalise of Emila Derkowska. Though I've been a fan of Quidam for some time now-since discovering their debut album around 2012-this is really my first exposure and repeat dive into this album.ġ. The volume will therefore be of great interest to scholars and students interested in medieval and Renaissance history in general, as well as those interested in the history of educational theory and practice, or in the premodern reception of classical literature.The Polish NeoProg artist's third album and last with vocalist Emila Derkowska and the rhythm section of bass player Radek Scholl and drummer Rafał Jermakow. Because the volume goes beyond analysing the educational manuals surviving from the premodern period and attempts to elucidate the teaching methodology of the premodern period, it provides a nuanced insight into the formation of the premodern individual. The volume proposes that the classics continued to be studied in the medieval and Renaissance periods not simply for their cultural or ‘ornamental’ value, but also for utilitarian reasons, for ‘life lessons’. By analysing some of the commentaries, glosses, and paraphrases of these classics that were deployed in medieval and Renaissance classrooms, and by offering greater insight into premodern pedagogic practice, the chapters here emphasize the ‘pragmatic’ aspects of humanist study. Medievalists and Renaissance specialists contribute to this compelling volume examining how and why the classics of Greek and Latin culture were taught in various Western European curricula (including in England, Scotland, France,Germany, and Italy) from the tenth to the sixteenth centuries. In addition to investigating the source history of two specific lines, this article demonstrates the valuable contributions that source study continues to make to the larger field of Anglo-Saxon studies by presenting a case study that illustrates how source analysis can be used to map more accurately and more completely the intellectual landscape of Anglo-Saxon England. After an excursus on the status of Terentian material in Anglo-Saxon England, I suggest that, besides Terence as ultimate source, a line in Ovid's Ars Amatoria may have more immediately influenced the Old English poet's phrasing. This article first shows that the Old English analogue to the original proverb extends over two instead of only one line, paralleling a longer version of the Latin proverb than previously assumed. A classical Latin sententia by Terence (“Quot homines, tot sententiae”) has been identified as source or analogue for line 167 (“Swa monige beoþ men ofer eorþan, swa beoþ modgeþoncas”), but no detailed examination of the validity of this identification, of the Latin proverb's transmission, or of possible intermediate sources has been offered. ![]() ![]() This article presents a source history of lines 167–68 in the Old English wisdom poem Maxims I.
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