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Olrik's thought on 'epic laws' was part of a wider project, developed with Kristian Erslev, for understanding oral narrative (which Olrik called sagn in Danish), also including principles for the study of sources and a theory of transmission. [5] Although Olrik drew on non-European material, his focus was explicitly on European folk narrative.
An epic is not limited to the traditional medium of oral poetry, but has expanded to include modern mediums including film, theater, television shows, novels, and video games. [1] The use of epic as a genre, specifically for epic poetry, dates back millennia, all the way to the Epic of Gilgamesh, widely agreed to be the first epic. But critique ...
Numit Kappa, a 1st-century Meitei language epic poetry from India. Meghnad Badh Kavya, a Bengali language epic from India by Michael Madhusudan Dutt. Mahabharata, a Sanskrit epic from India; known as Bharatayuddha in Indonesia and the second longest epic in the world ( the longest epic is Epic of Manas) Ramayana, a Sanskrit epic from India.
Olrik expressed the same ideas in German in 'Epische Gesetze der Volksdichtung', Zeitschrift für deutsches Altertum und Deutsche Literatur, 51 (1909), 1–12, which was translated into English as 'Epic Laws of Folk Narrative', in The Study of Folklore, ed. by Alan Dundes (Englewood Cliffs, N.J.: Prentice-Hall, 1965), pp. 129–41 OCLC 523555
"Studies in the Epic Technique of Oral Verse-Making. I: Homer and Homeric Style." Harvard Studies in Classical Philology Vol. 41 (1930), 73–143. Parry, Milman. "Studies in the Epic Technique of Oral Verse-Making. II: The Homeric Language as the Language of an Oral Poetry." Harvard Studies in Classical Philology Vol. 43 (1932), 1–50.
Canaäd, an epic poem reconstructing Canaanite mythology, set during the Late Bronze Age. Epic of Bamana Segu, oral epic of the Bambara people, composed in the 19th century and recorded in the 20th century; Epic of Darkness, tales and legends of primeval China; Epic of Jangar, poem of the Oirat people
Moreover, epic might have had only literary exponents, but as Plato's Ion and Aristotle's Ch. 26 of the Poetics help prove, for Plato and Aristotle at least some epic rhapsodes used all three means of mimesis: language, dance (as pantomimic gesture), and music (if only by chanting the words). [14] Subjects (Also "agents" in some translations.)
Romantic epic is a term used to designate works such as Morgante, Orlando Innamorato, Orlando Furioso and Gerusalemme Liberata, which freely lift characters, themes, plots and narrative devices from the world of prose chivalric romance.