Journal articles on the topic 'Essays and songs'
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1
Lukaniuk, Bohdan. "From the Musical History of Liberation Songs. Problem Essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2021-18-1-25-64.
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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Lukaniuk, Bohdan. "From the musical history of liberation songs. Problem essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2022-18-1-25-64.
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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Bergman, David, and John Taggart. "Songs of Degrees: Essays on Contemporary Poetry and Poetics." American Literature 67, no. 3 (September 1995): 618. http://dx.doi.org/10.2307/2927972.
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Lukaniuk, Bohdan. "From the Musical History of Liberation Songs. Problem Essays." Ethnomusic 17, no. 1 (2021): 74–105. http://dx.doi.org/10.33398/2523-4846-2021-17-1-74-105.
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Sieber, Patricia, Mario De Grandis, Ke Wang, Hui Yao, Jingying Gao, Ian McNally, Xu Yichun, and Jenn Marie Nunes. "In Search of Pure Sound: Sanqu Songs, Genre Aesthetics, and Translation Tactics." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 163–202. http://dx.doi.org/10.1215/23290048-8898674.
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Abstract This article consists of an introduction by Patricia Sieber and six short essays on translation approaches together with actual translations of sanqu songs by Mario De Grandis, Ke Wang, Hui Yao, Jingying Gao and Ian McNally, Xu Yichun, and Jenn Marie Nunes. The introduction provides a short history of the translation of sanqu songs into English, followed by a reflection on which distinctive features of the genre beg for attention in the translation process. In particular, it argues that the different sonic features of sanqu merit close consideration, the loss of the notational contours of the original tunes notwithstanding. Rather than bemoaning the absence of the underlying music, it suggests that, in keeping with Walter Benjamin's vision of the “task of the translator,” translation into another language can be an opportunity to reinvent that musicality in different ways. The six short essays that follow consider sanqu songs from the corpus of diasporic writers from the Yuan dynasty, with a view toward enriching the repertoire of translation strategies for sanqu in terms of musicality and other salient features of the genre. The six essays discuss, respectively, pronouns, rhyme, punctuation, language registers, allusion, and citational practice. In contextualizing such strategies theoretically and illustrating them with examples, the short essays seek to contribute more broadly to the theory and practice of the literary translation of Chinese poetic forms.
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Laing, Dave. "31 Songs and Nick Hornby's pop ideology." Popular Music 24, no. 2 (May 2005): 269–71. http://dx.doi.org/10.1017/s0261143005000486.
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31 Songs (re-titled Songbook in the United States) is ‘a little book of essays about songs I loved’ written in 2002 by Nick Hornby, author of the 1996 hit novel High Fidelity and latterly pop critic of the New Yorker. Hornby's assumption of the role of music critic echoed the wish of the protagonist of High Fidelity whose No. 1 in a list of ‘my five dream jobs’ was ‘NME (New Musical Express) journalist 1976–1979’.
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Bethke, Robert D., Richard A. Reuss, and Archie Green. "Songs about Work: Essays in Occupational Culture for Richard A. Reuss." Western Folklore 56, no. 2 (1997): 177. http://dx.doi.org/10.2307/1500206.
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Porter, Gerald, and Archie Green. "Songs about Work. Essays in Occupational Culture for Richard A. Reuss." Jahrbuch für Volksliedforschung 41 (1996): 186. http://dx.doi.org/10.2307/848452.
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La Charité, Virginia A. "Book Review: Songs of Degrees: Essays on Contemporary Poetry and Poetics." Philosophy and Literature 19, no. 2 (1995): 398–99. http://dx.doi.org/10.1353/phl.1995.0088.
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Huber, Patrick, and Archie Green. "Songs about Work: Essays in Occupational Culture for Richard A. Reuss." Journal of American Folklore 108, no. 428 (1995): 211. http://dx.doi.org/10.2307/541385.
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Khandwala, Nazia. "Everyday Life in the Muslim Middle East." American Journal of Islam and Society 20, no. 3-4 (October 1, 2003): 205–8. http://dx.doi.org/10.35632/ajis.v20i3-4.1843.
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Everyday Life in the Muslim Middle East, now in its second edition, is a collection of songs, articles, poems, and letters, as well as manuscripts, related to life in the Muslim Middle East. The authors, a mix of wellknown (and less well-known) scholars and writers from the Middle East and the West, seek to give readers an intimate look at the everyday life of the region's Muslim inhabitants in the hopes of addressing and dispelling some common stereotypes. Everyday Life is divided into five sections, each of which contains various essays, stories, and so on. Section One focuses on family life, birth, adolescence, marriage, and death. The first piece is Erika Friedl's collection of traditional songs from southwestern Iran about such events as childbirth and marriage. Susan Schaefer Davis examines how childrearing has changed in north-central Morocco from the 1970s to the present. In the next story, "Explosion," Lebanese journalist Emily Nasrallah depicts the tragedy of a young girl who parts from her mother at a supermarket and dies in an explosion. Next is an essay by Margaret A. Mills about an arranged marriage in Afghanistan. Jenny B. White ("Two Weddings") compares and contrasts traditional and modem Turkish weddings. In "Editing al-Fajr: A Palestinian Newspaper in Jerusalem," Bishara Bahbah talks about the experiences and challenges he faced as the editor-in-chief of the Jerusalem-based al-Fajr. Next is an excerpt from popular Moroccan novelist Driss Chraibi's "The Son's Return," in which he discusses the generation gap when a Moroccan immigrant to the West returns to visit his grandfather ...
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Juško-Štekele, Angelika. "FOLKLORE COMPETENCE IN THE REPRESENTATION OF CULTURAL IDENTITY IN SECONDARY SCHOOL STUDENTS’ ESSAYS." Education Reform: Education Content Research and Implementation Problems 2 (January 21, 2022): 31–40. http://dx.doi.org/10.17770/er2021.2.6727.
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The article, using the theory of conceptual analysis and the principles of SOLO (Structure of Observed Learning Outcomes) taxonomy, analyses the manifestations of folklore competence in the essays of secondary school students, available in the corpus of essays www.korpuss.lv. The levels of folklore competence were determined by analysing the use of lexemes belonging to the semantic field of folklore in secondary school students’ essays. Out of 157 (or 34%) essays containing lexemes belonging to the semantic field of folklore, the majority (i.e. 43%) show the lowest level of folklore competence with domination of the naming function without further elaboration, or is limited to a broader elaboration of just one element without any perceived correlation with a broader folklore context. At the second level of folklore competence that can be observed in 45 essays (29%), secondary school students show the ability not only to name but also to classify into simpler systems 2- 3 realia belonging to the semantic field of folklore. At the third level of competence represented in 9 essays (or 6%), secondary school students show the ability to reason, analyse, explain causes, integrate, infer and identify problems using 4-6 lexemes belonging to the semantic field of folklore. The overview of the essays written in 2018 shows that most of the secondary school pupils’ folklore interests are related to the events dedicated to Latvia’s centenary, in particular Latvian Song and Dance Festival, which is typologically connected with the folk songs and Cabinet of Dainas (‘dainu skapis’) collected by Krisjanis Barons. In terms of genres, secondary school pupils have mostly stayed in the genre of fairy tale, which dominates at the first level of folklore competence (43 out of 100 essays), but it often merges with the understanding of the literary fairy tale and is subject to a formal application of genres. The study shows that folklore competence at its highest possible levels is more convincingly demonstrated by pupils from minority schools, which may be explained by the socio-cultural competence building content included in the minority school curricula.
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Stramkale, Ligita. "MEMORIZING SONG LYRICS IN PRIMARY EDUCATION DURING THE MUSIC LESSON." Journal of Education Culture and Society 11, no. 1 (June 27, 2020): 273–80. http://dx.doi.org/10.15503/jecs2020.1.273.280.
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Aim. The aim of the study is to identify what techniques students use to memorise song lyrics, how much time is needed to do that, and whether and in what way their parents help them learn the song. The theoretical part of the study analyses previous researches on memorisation in the context of general psychology, age-related psychology, and music psychology.
Method. The empirical study involved 47 (N=47) second-grade students of the comprehensive school (25 girls and 22 boys). Three study questions are raised in this paper: what techniques do students use to learn how to memorise song lyrics? How much time does a student need to learn singing a song by heart? Do parents help students memorise the song lyrics and in what way? To answer these questions, after having sung a song by memory each student was asked to write an essay about his/her thoughts on how he/she had learned this song at home. The content analysis was used in order to process the information contained in the essays and thus obtain a concise and detailed description of the song memorising techniques.
Results. As a result of the obtained data analysis, it was determined that the most commonly used memorising techniques were: reading the song lyrics, singing the lyrics, and repeating them several times. The study also revealed that slightly more than half of the students did not get any parental assistance to learn a song by heart.
Conclusion. The students who learn to sing a part of a song by heart during music lessons need less time to learn the whole song at home when compared with those students who do not learn parts of the songs in class.
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Махова, Л. П. "Songs and Rituals of the Altai Mounting District from the Stepan Gulyaev’s Collection." OPERA MUSICOLOGICA, no. 1 (March 26, 2020): 70–100. http://dx.doi.org/10.26156/om.2020.12.1.005.
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В Институте русской литературы Российской академии наук (г.Санкт-Петербург) хранится рукопись С.И.Гуляева, которая состоит из пяти тетрадей: Песни обрядные, Свадебные обряды, Песни круговые, Песни девичьи, женские и юнацкие, Знахарство. В совокупности они составляют самый ранний сборник народной поэзии Алтайского горного округа. Некоторые тексты народных песен и заговоров, а также фрагменты описания свадебного обряда Гуляев записал на Алтае еще в 1820-е годы. Частично материалы сборника были опубликованы в 1848 году в статье Этнографические очерки Южной Сибири . Затем до 1881 года автор вносил в рукопись дополнения: новые записи текстов песен и заговоров, этнографические описания свадебного обряда. В тетрадь Песни круговые он вложил черновик статьи о выпускнике Санкт-Петербургской консерватории, оперном и камерном певце Иване Васильевиче Матчинском, выступившем летом 1875 года с концертом в Барнауле. К статье Гуляев приклеил титульный лист тетради круговых песен, после чего в письме сообщил М.И.Писареву об окончании работы над сборником народной поэзии. Позднее в тетрадь Свадебные обряды собиратель внес описание умыкания невест у крещенской Иордани, случившееся в Барнауле в 1881 году. Тогда же он написал письмо С.Н.Шубинскому с вопросом о возможной публикации своего собрания в журнале Исторический вестник . Не считая заговоров, в четырех тетрадях рукописи содержится 291 текст хороводных (98), свадебных (84), лирических (72), плясовых (16) песен, причитаний (3 свадебных и 2 похоронных), духовных стихов (15) и рацейки (1), из них 156 не были опубликованы при жизни автора. В приложении к статье приводится содержание этих тетрадей сборника с отсылками к публикациям. Некоторые песни из собрания Гуляева в 19662016 годы удалось записать с напевами во время экспедиций Московской консерватории в южные районы Алтайского края. The Manuscript Department of the Russian Literature Institute (St. Petersburg) keeps a Stepan Gulyaevs manuscript, consisting of five notebooks: Ritual Songs, Wedding Ritual, Round Songs, Girls, Womens and Mens Songs, Sorcery. Together they form the earliest collection of the folk poetry of Altai mountain district. Some of these texts, along with the description of the wedding ceremony, were recorded by Gulyaev in Altai back in the 1820s. Partly the material was published in 1848, in Gulyaevs article Ethnographic Essays of South Siberia. After that, until 1881, he was making additions to the manuscript: the new lyrics, healers spells, and other. Gulyaev enclosed inside the Round Songs notebook the draft of his article about the recital of Ivan V.Matchinsky, a singer and a graduate of the St. Petersburg Conservatoire. The recital was held in Barnaul in 1875. Gulyaev glued the title-page of the Round Songs notebook to the article and then reported in the letter to Modest I.Pisarev that he had completed his work on the folk poetry collection. Gulyaev added the Wedding Rituals notebook with the description of the bride theft that happened in 1881 in Barnaul. At the same time he wrote a letter to Sergey Shubinskiy with a question about a possibility to publish his collection in the Historical Herald journal. Besides the spells, the four song notebooks contain 291 lyrics of round songs (98), wedding songs (84), lyrical songs (72), dance songs (16), spiritual poems (15), and other. The contents of these notebooks are attached to the article with the references to the published lyrics. Some of the songs from Gulyaevs collection were recorded with melodies in 19662016 during the expeditions to the southern regions of Altai.
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Starnes, John Eric. "Black Flag under a Grey Sky. Forms of Protest in Current Neo-Confederate Prose and Song." Review of International American Studies 13, no. 1 (August 16, 2020): 159–81. http://dx.doi.org/10.31261/rias.7587.
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Abstract: While ‘tragic’ protest and protest songs are normally conceived of as originating on the political left of American culture, in recent years protest from the political right, specifically the racist right has flown under the cultural radar of most researchers of American studies. This article strives to explore the ways in which the neo-Confederate movement is currently protesting the state of cultural, political, and social affairs in the contemporary American South. The neo-Confederate movement is one of the oldest forms of ‘conservative’ protest present in the United States, originating out of the defeat of the Confederacy and the civic religion of the ‘Lost Cause’ of the last decades of the 1800s into the first three decades of the 1900s. Since the neo-Confederate movement is both revolutionary and conservative, it is possible to derive some valuable insights into the contemporary reactionary politics of the right by examining a brief sampling of the protest songs, novels and essays of this particular subculture.
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Hascher, Xavier. "‘In dunklen Träumen’: Schubert's Heine-Lieder through the Psychoanalytical Prism." Nineteenth-Century Music Review 5, no. 2 (November 2008): 43–70. http://dx.doi.org/10.1017/s1479409800003360.
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Why – one might be tempted to add: why again – the Heine-Lieder? And why psychoanalysis? Like most of Schubert's music and especially the late works, yet with a distinctive nuance, Schubert's set of six songs to texts from Heine's Buch der Lieder has been regularly discussed in the musicological literature of the last decades. Among those writings, the articles by Harry Goldschmidt and Richard Kramer, the collection of essays on Schwanengesang edited by Martin Chusid, and the latter's publication of the facsimile of the autograph and first edition of the cycle are of particular interest to us here. The reason for it has to do with the nuance referred to at the beginning of this paragraph. While some authors are inclined to discuss Schubert's understanding of the poetry (notably in terms of the celebrated Heinesque ‘irony’), others choose to address the set from another perspective, namely that of the order of the songs. Indeed, the following questions inevitably arise in considering the Heine songs: Why did Schubert alter the order of the poems from that in which they appear in Heine's original collection, therefore (seemingly) destroying the logic of the sequence? Did Schubert actually conceive the text as a sequence – that is to say, a cycle? In dealing with those issues, Goldschmidt and Kramer have suggested a provocative and radical solution, which consists in reordering the songs to match the succession in Heine. This, of course, has occasioned much eyebrow-raising in the musicological community, and has led to successive refutation and counter-refutation.
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Huanyu, Wang. "THE SPECIFICITY OF CHAMBER VOCAL GENRES IN CHINESE CULTURE." Arts education and science 1, no. 30 (2022): 155–61. http://dx.doi.org/10.36871/hon.202201018.
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Chamber vocal music belongs to the most multifaceted fields of musical art, involving not only the expressiveness and cantilena of the singing voice, but also the poetry of speech. This article is devoted to one of the most pressing issues considered in the study of chamber vocal music, directly or indirectly present in numerous studies, ranging from small essays to major scientific works created by prominent musicologists, including B. V. Asafiev, V. A. Vasina- Grossman, L. A. Mazel. This question concerns the interaction of words and music in chamber vocal works, the peculiarities and conditions of this interaction, the genre organization of textual and musical sources, and the singing of the word. Here the problems of the artistic content are considered mainly on the examples of Chinese songs dedicated to the images of nature and the state of the human mental world. They are given in Russian translations. The popular Soviet song from the World War II "Dorozhenka", which became popular in China in a revised form, is considered separately.
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Black, Fiona. "BEAUTY OR THE BEAST? THE GROTESQUE BODY IN THE SONG OF SONGS." Biblical Interpretation 8, no. 3 (2000): 302–23. http://dx.doi.org/10.1163/156851500750096363.
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AbstractThe expressions of love and desire made by the lovers in the Song of Songs include intimate and detailed poetic descriptions of the body. These often cause difficulty for interpreters because the imagery used is cryptic and seemingly nonsensical. Biblical scholars frequently express some discomfort or embarrassment over this language, yet largely maintain the view that it should be interpreted positively—as complementary and loving description. In all this, they are bowled over by their own amorous relationships with this text, which make them stutter and fumble almost as much as the Song's lovers do. This essay looks at (scrutinizes) the bodies in the Song of Songs—the physical bodies described in the Song and the textual body (corpus) with which readers engage. The literary and artistic construct of the grotesque serves—ostensibly perversely—as a heuristic for viewing bodily imagery and readerly desire. The grotesque's emphasis on the exaggerated and hybridised body and its weavings of the comic and the terrifying facilitate an investigation of the Song's gender politics and its complicated and potentially conflicting presentation of desire.
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Pathak, Dev Nath, and Moureen Kalita. "Folklore’s Contemporariness: Dynamics of Value Orientation in Bihu." Journal of Human Values 25, no. 3 (August 22, 2019): 177–89. http://dx.doi.org/10.1177/0971685819861220.
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The folklore studies scholar, such as Dorson (1976, Folklore and fakelore: Essays toward the discipline of folk studies, Harvard: Harvard University Press), was emphatic about the distinction between folklore and ‘fake lore’, one being authentic and the other as invented by the popular industry; however, he paradoxically maintained interest in the contemporariness of folklore. This was a paradox since the contemporariness of folklore is largely, and usually, due to intersections of folk with popular and political. Nevertheless, the emphasis on contemporariness was a harbinger of discussion on the potential dynamics of folklore, and everything buried therein, including value orientation. This essay is guided by the observations emerging from folklore studies, socio-cultural anthropology and performance studies in order to get into a specific case of Bihu, a folk performance inclusive of songs, dance, attires and instruments inter alia in Assam, in the northeast of India. The curious case of Bihu in flux divulges dynamics of value orientation and intersections of identity politics, in the wake of the contemporariness of folklore.
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Miller, Terry. "Hmong Songs of Memory: Traditional Secular and Sacred Hmong Music; Essays, Images, and Film by Victoria Vorreiter." Asian Music 51, no. 1 (2020): 127–31. http://dx.doi.org/10.1353/amu.2020.0013.
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DRABKIN, WILLIAM. "SCHUBERT, SCHENKER AND THE ART OF SETTING GERMAN POETRY." Eighteenth Century Music 5, no. 2 (September 2008): 209–36. http://dx.doi.org/10.1017/s1478570608001498.
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Nearly half a century after gaining a solid footing in the academic world, the achievements of Heinrich Schenker remain associated more with tonal structure and coherence than with musical expression. The focus of his published work, exemplified largely by instrumental music from the eighteenth and early nineteenth centuries, supports this view. There are just five short writings about music for voices: two essays on Bach’s St Matthew Passion, one on the opening number from Haydn’s Creation, and two on Schubert songs. To be sure, romantic lieder appear as music examples for the larger theory books, but there they serve as illustrations of harmony, voice leading and form, rather than the relationship of word to tone.
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Polovinkina, Olga I. "The “Montage of Attractions” in T.S. Eliot’s The Waste Land." Literature of the Americas, no. 13 (2022): 207–23. http://dx.doi.org/10.22455/2541-7894-2022-13-207-223.
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The article deals with the importance of the music hall for The Waste Land by T.S. Eliot. This form of entertainment art, at first glance, does not fit well with the deep religious and philosophical message that is traditionally seen in the poem, but it is attracting more and more attention from researchers. The term “music hall” in the article refers to a type of theater that was represented by the English music hall, the American minstrel shows, vaudeville and musical comedy of Eliot's youth, the Parisian variety theater which he came to know intimately in the early 1910s, and revue. The English music hall was chosen to refer to the phenomenon because it was the one that occupied Eliot's imagination at the time when The Waste Land was being written. The article describes T.S. Eliot as a music hall habitué in the 1910s — early 1920s, his essays on the music hall in the magazines Dial and Tyro are analyzed. The author proves that the importance of the music hall song for The Waste Land is not limited to the usage of the rhythm and any kind of musical technique. The songs are not important in themselves, but as part of the performance. The fragment that opens the first version of the poem is a striking revelation of the music hall. The fragment is read as representing the music hall performance, starting with the motive of a “hot night” and ending with quotes from various music hall songs. From the same point of view, the original title of the poem is analysed. The presence of the music hall in the final version of The Waste Land is shown in connection with the characters from the working class and the image of Tiresias. The general principle on which the artistic whole is built in The Waste Land is presented as reproducing the structure of a music hall performance; the author takes the name “montage of attractions” for it from S. Eisenstein.
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Smidchens, Guntis, and Vaira Vikis-Freibergs. "Linguistics and Poetics of Latvian Folk Songs: Essays in Honour of the Sesquicentennial of the Birth of Kr. Barons." Slavic and East European Journal 34, no. 3 (1990): 405. http://dx.doi.org/10.2307/309096.
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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.
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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.
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K, Priya. "Biographical and Cultural Elements in S.R.G. Sundaram’s Short Stories." International Research Journal of Tamil 4, S-8 (June 27, 2022): 48–54. http://dx.doi.org/10.34256/irjt22s86.
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Culture is the one that interacts with the lives of living people from ancient times to the present day and from time to time. S.R.G. Sundaram, who is awarded with ‘Bharathi Paniselvar’, is a multifaceted literary creator. Our Tamil world is well aware of his contribution to the development of Tamil. Like Valliyappa, he is also a prolific writer, who has made significant contributions in the form of short stories, plays, novels, songs, essays, and short stories for children. S.R.G. Sundaram has been doing his work since the age of seventeen (since 1957) and still does it today with deep knowledge and creative thinking. In his short stories, many cultural elements are found, such as love, rationality, hospitality, friendship, loneliness, love for life, diligence, punctuality, and patriotism. The purpose of this study is to explore and sort them out.
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Baruch, Adele. "Chapter 2." Narrative Works 9, no. 1 (March 10, 2020): 31–42. http://dx.doi.org/10.7202/1068122ar.
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Phase 2 of the Courage and Moral Choice Project (CMCP) involved a more structured and planned learning experience than had Phase 1. Two teachers at an alternative public high school collaborated with researchers and artist educators to develop an integrated, three-month learning experience around stories of helping. Students participated on a voluntary basis and focused on these stories through language arts, history, art, and service learning experiences. They were encouraged to tell their own stories of courageous moral choices, and their exchanges led to more general disclosure and trust in the learning environment. Artist educators were brought into the schools to encourage students to translate their experiences of moral choice into poetry, essays, art, and songs. Teachers and students reported a more cohesive sense of community as well as increased empathy and awareness of the help of others among participants.
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Gramit, David. "Orientalism and the Lied: Schubert's "Du liebst mich nicht"." 19th-Century Music 27, no. 2 (2003): 97–115. http://dx.doi.org/10.1525/ncm.2003.27.2.97.
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Franz Schubert's "Du liebst mich nicht" (D. 756) has often been discussed as an extreme example of chromatic harmony, but one important possible motivator of the song's extravagance--its representation of one of the most exotic of the Orientalizing texts that Schubert set--has largely been overlooked. By considering the song and its interpretation by several recent critics, this essay suggests that the exotic is here represented not by overtly Orientalistic stylistic features, but rather by a pervasive ambiguity, which parallels the features ascribed to the Oriental in a variety of contemporary sources, including a review by Schubert's acquaintance Matthaus von Collin. Unlike such public evaluative texts, however, Schubert's song directly evokes the patterns of emotion and experience associated with the Orient rather than describing and critiquing from a critical distance. A brief consideration of the other songs of op. 59, "Dass sie hier gewesen" (D. 775), "Du bist die Ruh" (D. 776), and "Lachen und Weinen" (D. 777), reveals that "Du liebst mich nicht" opens the collection with an extreme representation of otherness from which the remaining songs gradually retreat.
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Reinelt, Janelle. "National signs: Estonian identity in performance." Sign Systems Studies 33, no. 2 (December 31, 2005): 369–78. http://dx.doi.org/10.12697/sss.2005.33.2.06.
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Since Estonia is in the midst of a national redefinition and examination of past traditions and future aspirations, it makes an excellent case study for the potentiality of theatre as an arbiter of national identity. The changing value of the institution itself is part of the equation (will Estonians continue to appreciate and attend the theatre in coming years?). In addition, the historical role of Estonian theatre as a repository for national narratives, especially literary ones, makes it a significant site for struggles around print and technology, and between embodied performances and archival performatives. This essay introduces a series of articles that address how Estonia and its theatre might be regarded and understood in light of its history, memories, present experiences, and future possibilities. The idea of pretence that lies at the heart of theatricality itself provides an ideal means for interrogating national identity in a time of great instability and flux. The examples of productions discussed in these three essays share more than a deliberate utilization of the rubrics of theatricality. It seems no coincidence that the reworking of national classics, Estonian national myths, and ethnic folk songs and ceremonies takes place concurrently with the representation of new technologies, commodity capitalism, and diasporic collisions. Embodying precisely the predicament of culture in a country reassessing its past and confronting its future, the theatre is an important institution for national resignification.
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Chonghaile, Deirdre Ní. "‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands." Irish University Review 46, no. 2 (November 2016): 243–59. http://dx.doi.org/10.3366/iur.2016.0225.
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To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.
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Couch, Stephen R., and Barbara A. Wade. "“I Want to Barbecue bin Laden” Humor after 9/11." International Journal of Mass Emergencies & Disasters 21, no. 3 (November 2003): 67–86. http://dx.doi.org/10.1177/028072700302100306.
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This paper is a preliminary examination of humor related. to the terrorist attacks of September 11, 2001, and its aftermath. Data include cartoons, caricatures, songs, video skits, and satirical essays, gathered from books, newspapers and Internet sources. We begin with a short discussion of sociological approaches to humor, noting that humor can be used either to further or to stymie social change. We suggest that theories of Bourdieu and Foucault have something to offer in studying humor's place in social discourse. Neat, we examine three themes that emerged in post-9/11 humor: A Just Revenge; The Enemy: Evil, Cowardly, Barbaric, Incompetent; and Insecurity in a Changing World. Also, we briefly consider post-9/11 humor in comparison with humor that followed the December 7, 1941 attack on Pearl Harbor, World War II, and humor that emerged about the Gulf War. We end by suggesting timing, place and power are important when studying the role of humor in social discourse.
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Orlemanski, Julie. "Literary Persons and Medieval Fiction in Bernard of Clairvaux’s Sermons on the Song of Songs." Representations 153, no. 1 (2021): 29–50. http://dx.doi.org/10.1525/rep.2021.153.3.29.
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Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard’s Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bernard’s Sermons form an overlooked episode in the literary history of fiction.
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Hitchcock, H. Wiley. "Ives's "114 [+ 15] Songs" and What He Thought of Them." Journal of the American Musicological Society 52, no. 1 (1999): 97–144. http://dx.doi.org/10.2307/832025.
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This essay reflects work toward a critical edition of 129 Ives songs (all those in whose publication he was directly involved)-mainly 114 Songs (1922) and the New Music issues of Thirty-Four Songs (1933) and Nineteen Songs (1935). It explores his value judgments of them, and also of 50 Songs (1923), containing unaltered reprints from 114. 114 Songs is eclectic and inclusive, a retrospective exhibition of various song types, including ones drastically foreign to conventional notions of a song. In 50 Songs, Ives responded to adverse reactions to 114 Songs and sought to reprint songs of "more general interest." For the New Music collections, he revised many songs, especially those initially arranged from pre-114 chamber-ensemble works. To the latter he typically restored material from the "parent pieces," increasing the songs' dissonance (not, however, to falsify their modernity). He also reprinted conservative songs, as well as adding nine previously unpublished ones, and in both collections chose the songs' order carefully.
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Wijaya, Agetta Putri. "Tafsir Alegoris, Konstruksi Teologis, dan Unsur Erotis dalam Kitab Kidung Agung." Indonesian Journal of Theology 4, no. 2 (December 1, 2017): 237–56. http://dx.doi.org/10.46567/ijt.v4i2.42.
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Song of Songs is afforded relatively rare attention in church, where an allegorical mode of reading often continues to serve as the default interpretative strategy for examining this particular book of the Bible. And this remains the case, despite the development of numerous other approaches that can better account for elements of eroticism as contained in that book. In this essay, discursive problematics arising from the interpretation of Song of Songs are considered in detail, in order to ascertain the reason for the church's aversion toward using some such exegetical method that would be more attuned to the erotic elements within Song of Songs. One's own willingness to be open to such erotic elements in Song of Songs may even assist in bringing the church to realize the riches to be found therein. Such riches may then also serve as basis for a more progressive constructive theology concerning human sexuality. As such, the church may thus regard Song of Songs as its biblical warrant for constructing a theology that regards sexuality in a more positive manner.
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O'Connell, Peter A. "“Charaxus Arrived with a Full Ship!” The Poetics of Welcome in Sappho's Brothers Song and the Charaxus Song Cycle." Classical Antiquity 37, no. 2 (October 1, 2018): 236–66. http://dx.doi.org/10.1525/ca.2018.37.2.236.
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By analyzing the parallels between Sappho's Brothers Song and archaic Greek songs of welcome, especially Archilochus fr. 24 West, this essay offers a new interpretation of the Brothers Song. It clarifies that ἔλθην in the first preserved stanza represents an original aorist indicative. The chatterer repeats over and over a welcome song that begins, “Charaxus arrived with a full ship.” The rest of the song continues to engage with the welcome song tradition, anticipating the welcome song that will celebrate Charaxus' return to Mytilene, when and if that occurs. By pointing beyond itself to other, real or notional, songs about Charaxus, the Brothers Song also demonstrates Sappho's nonlinear method of storytelling that relies on her audiences' imaginations.
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Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music." Music Therapy Perspectives 37, no. 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.
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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.
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Vuille, Rosine-Alice. "The Living Tree: Kr̥ṣṇā Sobtī’s Pre-Partition Punjab and the “Other History”." Cracow Indological Studies 23, no. 1 (September 30, 2021): 137–55. http://dx.doi.org/10.12797/cis.23.2021.01.05.
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Historical fiction covers a wide range of texts and presents a large variety of views on the subject of history. It is often seen as a way of narrating history from a perspective ignored by academic historiography, thus offering an alternative narrative of the past. This other way of writing history, namely by way of literary texts, is not always conscious or openly acknowledged. In her essays on literature, the Hindi writer Kr̥ṣṇā Sobtī (1925–2019) clearly formulates her views on the role of the writer when she commits herself to represent the past, differentiating her role from that of a historian per se. Personally, as a writer, she is primarily interested in the perception of time of the people of a region and their understanding of their own past transmitted through tales, songs and other media; this constitutes what Sobtī calls the “other history”, a notion close to Jan Assmann’s “mnemohistory”. Through the example of Sobtī’s magnum opus, Zindagīnāmā, this paper explores what this specific way of narrating history reveals about the rural society of the pre-Partition Punjab.
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Egorova, Lyudmila V. "Robert Calasso. Literature and the gods (L. Egorova)." Voprosy literatury, no. 6 (December 20, 2019): 284–89. http://dx.doi.org/10.31425/0042-8795-2019-6-284-289.
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Review of the collected essays Literature and the Gods (2001), based on Roberto Calasso’s Weidenfeld Lectures at Oxford. As a major theme of his studies, he examines the relation between myth and modern consciousness. Noting the interest in ancient gods, observed since the 19th c., as well as the keenness to generate a ‘new mythology’, Calasso recreates the romantic and post-romantic myth about literature, taking a close look at ‘absolute literature’. The research material was selected from poems and letters by Hölderlin and Mallarmé, Baudelaire’s polemic article Pagan School , Lautreamont’s The Songs of Maldoror , works by Schlegel and Nietzsche, and ancient Indian texts, etc. Among those who traced the progress of absolute literature Calasso names Baudelaire and Proust, Hofmannsthal and Benn, Valéry and Auden, Brodsky and Mandelstam, Tsvetaeva and Yeats, Borges and Nabokov, Calvino and Kundera. Calasso absolutely deserves the name of a master of secret knowledge, and thanks to Anna Yampolskaya the heuristic energy of his artistic and critical thought can finally be experienced in Russian.
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Garrett, Charles Hiroshi. "Chinatown, Whose Chinatown? Defining America's Borders with Musical Orientalism." Journal of the American Musicological Society 57, no. 1 (2004): 119–74. http://dx.doi.org/10.1525/jams.2004.57.1.119.
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The music of Tin Pan Alley has proven an extremely rich source for investigations of race, ethnicity, and identity in America, most clearly with respect to Jewish American identity-making and the cultural history of black/white racial relations. The existence of a large body of Asian-themed Tin Pan Alley songs suggests, however, that other important trajectories involving the construction of ethnic and racial identity have been overlooked. To illuminate the role of music in molding ideas of Asia and Asian America, this essay focuses on the song "Chinatown, My Chinatown" by lyricist William Jerome and composer Jean Schwartz, offering detailed accounts of its origin, its 1910 Broadway debut, its presentation as sheet music, and its extensive performance history. By caricaturing local Chinatowns as foreign, opium-infested districts within U.S. borders, the song exemplifies turn-of-the-century musical orientalism as it was directed toward a local immigrant community. Yet the popular standard continues to resonate today in performance, recordings, film, television, cartoons, advertising, and the latest entertainment products. To account for the song's enduring cultural impact, this essay traces its history across diverse performance contexts over the last century.
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Manggong, Lestari, and Amaliatun Saleha. "Beyond Anpanman the (Super)hero: Investigating Figures of Hero and Idol in BTS’s Songs." Jurnal Lingua Idea 12, no. 1 (June 22, 2021): 51. http://dx.doi.org/10.20884/1.jli.2021.12.1.3435.
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Released in May 2018, the song “Anpanman” by the world’s most popular K-Pop boy group to date, BTS, shares the idea of being a hero by setting an example from the Japanese superhero Anpanman. Anpanman, whose head is made of red bean paste-filled pastry, is well-known for his superpower ability to share parts of his head to those in need. This humble and self-sacrifice mode of helping others seems to be the basic idea of the song, to represent what BTS is about. This essay aims to further dissect the song lyrics of “Anpanman” to show the ambivalence presented between the concept of hero and superhero (termed here as (super)hero). The discussion goes further to juxtaposing the concept of hero/superhero with idol, a term used as another one of BTS’s songs “Idol”. Considering that in K-Pop, being an idol is practically a dream job, it is therefore paramount that in discussing the songs, this essay highlights the paradox of what it means to be a hero/superhero with an idol. Within the frame of network analysis, the discussion is conducted specifically along the line of the effects that digital culture has, which helps the spreading of BTS’s popularity and persona globally. In this light, this essay argues that beyond the songs, a problematic view on what it means to be a hero and an idol is projected. Ultimately, the discussion concludes that such an ambivalent view potentially leads to a reconceptualization of a superhero figure.Released in May 2018, the song “Anpanman” by the world’s most popular K-Pop boy group to date, BTS, shares the idea of being a hero by setting an example from the Japanese superhero Anpanman. Anpanman, whose head is made of red bean paste-filled pastry, is well-known for his superpower ability to share parts of his head to those in need. This humble and self-sacrifice mode of helping others seems to be the basic idea of the song, to represent what BTS is about. This essay aims to further dissect the song lyrics of “Anpanman” to show the ambivalence presented between the concept of hero and superhero (termed here as (super)hero). The discussion goes further to juxtaposing the concept of hero/superhero with idol, a term used as another one of BTS’s songs “Idol”. Considering that in K-Pop, being an idol is practically a dream job, it is therefore paramount that in discussing the songs, this essay highlights the paradox of what it means to be a hero/superhero with an idol. Within the frame of network analysis, the discussion is conducted specifically along the line of the effects that digital culture has, which helps the spreading of BTS’s popularity and persona globally. In this light, this essay argues that beyond the songs, a problematic view on what it means to be a hero and an idol is projected. Ultimately, the discussion concludes that such an ambivalent view potentially leads to a reconceptualization of a superhero figure.
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Shih-Pe, Wang, and Erxin Wang. "Plays within Songs: Sanqu Songs from Literary Refinement (ya) to Popular Appeal (su)." Journal of Chinese Literature and Culture 8, no. 2 (November 1, 2021): 307–40. http://dx.doi.org/10.1215/23290048-9299658.
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Abstract Through detailed analysis of several case studies, this essay investigates a special form of sanqu 散曲 song, namely, songs that embed references to dramas (quzhong daixi 曲中帶戲). A long song suite (changtao 長套) by Yuan author Sun Jichang 孫季昌 (fl. 14th century) is the best-known example of a pastiche of zaju play titles and dramatic protagonists intended to stimulate and guide readers' imagination. When late Ming dramatist Shen Jing 沈璟 (1553–1610) imitated Sun's pastiche song suite, he painstakingly sought to disrupt the obvious association between lyric and invoked play in an appeal to the literati aesthetic of lyrical indirection. Another, shorter song suite from the Ming, this one by an anonymous author, incorporates chuanqi play titles with little literary embellishment, catering to popular tastes. Finally, set to the tunes “Pipo yu” 劈破玉 and “Gua zhen'er” 掛真兒, popular songs featuring chuanqi play titles appear in three late Ming miscellanies. As these songs describe their source play's main protagonists and plot elements, they may be seen as expressing the voice of commoners and at the same time promoting ethical values. Taken together, these examples illustrate that it was not unusual for sanqu songs to incorporate dramatic references. This blending of song and drama can be traced to the arbitrary Yuan dynasty definition of yuefu 樂府 (literally, “Music Bureau songs”) and its relationship with sanqu songs. Thus the heterogeneous and inclusive nature characteristic of sanqu songs can be viewed in a new light.
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Kwon, JiSeong James, and Matthias Brütsch. "Das Hohelied als jüdische Version der Liebesdichtung innerhalb eines gemeinsamen intellektuellen Hintergrundes in der hellenistischen Zeit." Journal of Ancient Judaism 12, no. 2 (June 2, 2021): 149–74. http://dx.doi.org/10.30965/21967954-bja10010.
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Abstract This essay is intended to demonstrate that the Song of Songs (Canticles) is a product of a Hellenistic and Jewish intellectual background. It takes up motifs from Egypt, Mesopotamia, and is based on the Hellenistic poetry from Greece–Sicily–Alexandria. Its basic literary forms (Paraklausithyron, runaway love, descriptive songs of man and woman) were derived from the Hellenism of Alexandria, e.g. Theocritus and Moschus or its predecessors as an amalgam of these cultures. This conclusion is further supported by the manuscript evidence for the Songs of Songs found among the Dead Sea Scrolls.
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H.K, Santhosh. "Poothan Kali Songs : an analysis of their types, themes and functions." Indian Journal of Multilingual Research and Development 2, no. 1 (March 30, 2021): 24–34. http://dx.doi.org/10.34256/ijmrd2114.
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'Panappoothan' is an art form performed by the Pana community at festivals at the Bhagvati temples in old Valluvanad district of Kerala.Unlike the Poothan performance of other castes, Panans also sing songs in their Poothan and Andi kali. They perform 'anchati pattukal', hymns and 'kummi pattukal' along with the performance. These songs have not yet been recorded in our folk song tradition or literary history. This essay analyzes these songs descriptively and determines the folk identity expressed in it.
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Hevko, Ihor, Olena Spolska, Xie Xiaonan, and Wu Hongwei. "Modern performing arts of Ukraine as lecture and practical lessons in the course with future teachers of musical art." Journal of Education, Health and Sport 12, no. 8 (August 31, 2022): 1206–15. http://dx.doi.org/10.12775/jehs.2022.12.08.105.
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The purpose of the work is to highlight experimental methodical approaches to the representation of certain aspects of modern Ukrainian vocal art on the example of the organization of research, educational and performing activities of master's students of the Faculty of Arts of V. Hnatyuk TNPU.
The research methodology consists in the use of methods of historical and cultural discourse, historical and musicological positions on the problems of vocal art, in the implementation of activity and integrative approaches based on the example of art pedagogy. Attention is focused on the problem of representation of the main problems of the development of modern Ukrainian vocal art on the example of the organization of research, educational and performing activities of future music teachers. Taking into account the tasks of their professional training, the specifics and prospects of their future pedagogical and performing activities, we have already made attempts to extrapolate the history of performing schools to the content of the "Methodology of Music Education" course and the subjects of the school cycle, in particular, the reading of the "Artistic Culture of Ukraine" course during 2019–2020. The scientific novelty consists in the presentation of an integrative approach to the organization of the research, educational and performance activities of master's students on the example of the interaction of teachers of specialized lecture-theoretical ("History of Ukrainian Music", "Contemporary Music"), research courses ("Fundamentals of Music and Pedagogical Research", "Methodology of Scientific research", "Fundamentals of musical interpretation") and practical disciplines ("Vocal") during 2020–2021. A number of examples of research work of master's students are presented (essays, "musical quizzes", questionnaires, etc., related to the problems of modern musical art). A block of master's research materials related to musical Ternopil, with the organization of the competition and festival movement, is separately allocated. Excerpts from essays of master's students on the topic "Show business: pros and cons" are given. As examples of the cooperation of academic supervisors with vocal teachers, the content of master's studies was clarified, respectively - programs of master's students' concerts. For example, creative projects "Song about a song", "Moment".
Conclusions. We believe that the best examples of modern pop songs are an important contribution to the vocal art of Ukraine. Their role especially increases in periods of social challenges, war tragedies as a reaction-protest of artists and society in general. At the same time, it is an interesting research material, a high-value performing and educational repertoire, which should be qualitatively presented in performance classes of art institutions. So, the layer of popular musical culture and performance, represented by the activities of famous soloists and bands from different regions of Ukraine, participants of the competition-festival movement in Ukraine and abroad, was and remains the subject of thorough comparative research.
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Wabyanga, Robert Kuloba. ""I Am Black and Beautiful": A Black African Reading of Song of Songs 1:5-7 as a Protest Song." Old Testament Essays 34, no. 2 (November 18, 2021): 1–22. http://dx.doi.org/10.17159/2312-3621/2021/v34n2a16.
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Adamo's article on Ebed-Melech's protest brings fresh insight into my earlier article on Song of Songs 1:5-7, prompting me to reread the text as a protest song (essay) against the racial stigmata that continue to bedevil black people in the world. The current article, using hermeneutics of appropriation, maintains the meaning of שְׁחוֹרָה as a black person, who in the Song of Songs protests against the racism, which transformed her status to that of a socioeconomic other. The study is informed by the contemporary and historical contexts of racial injustices and stigma suffered by Blacks for 'being' while Black. The essay investigates this question: In which ways does Adamo's reading of Jer 38:1-17 influence an African reading of Song 1:5-7 as a protest against racism? The article employs African Biblical Hermeneutics, as part of a creative and literary art in the protests against racism, to read the biblical text as our story-a divine story, which in the language of Adamo, has inherent divine power that can empower oppressed black people.
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Grossberg, Daniel. "Nature, Humanity, and Love in Song of Songs." Interpretation: A Journal of Bible and Theology 59, no. 3 (July 2005): 229–42. http://dx.doi.org/10.1177/002096430505900302.
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This essay is a study of the three-fold theme of nature, humanity, and love in Song of Songs and an investigation into the ways nature imagery is used to evoke human love. The work further examines the nature of the highly erotic yet restrained love that is evoked.
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B. Decock, Paul. "Origen’s Christian Approach to the Song of Songs." Religion and Theology 17, no. 1-2 (2010): 13–25. http://dx.doi.org/10.1163/157430110x517898.
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AbstractThis essay attempts to understand and appreciate what Origen was aiming at in his commentary on the Song of Songs. Origen “imagined” the purpose of reading the Scriptures as the transformation of the reader into the “likeness of God”. He viewed the Song of Songs as the climax of all songs of Scripture and therefore, “learning to sing that song” expressed the highest stage of Christian growth. As the subject matter of the Song of Songs is love, it is clear that perfection in love is indeed the ultimate goal of human life. However, understanding love is difficult and many go astray, because, in fact, as God is love, understanding love and loving is as profound as God Self. It is through the Logos at work in the Scriptures as well as within us and in the whole of the created reality that we are empowered for loving and understanding love. Origen describes the action of the Logos with the image of a “saving wound caused by the arrow of the divine eros”. Origen’s perspective is not that of working towards a fusion of horizons between a human author in the past and a present-day reader, but of working towards an ascent from the level of the “letter” to the level of the “spirit”.
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Story, Cullen. ""Another Look at the Fourth Servant Song of Second Isaiah"." Horizons in Biblical Theology 31, no. 2 (2009): 100–110. http://dx.doi.org/10.1163/019590809x12553238842989.
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AbstractThis essay argues for a contextual exegetical reading of the servant songs in Second Isaiah. By reading the songs in the literary context of references to the "second exodus" and hymns of celebration, several conclusions can be drawn. There are three servant figures in the four servant songs: one servant (Israel) in need of redemption, one servant (Second Isaiah) who proclaims redemption, and one servant (the Messiah) who procures redemption. This servant of the fourth song is not the prophet himself or Israel but a servant figure whose sacrifice will break the yoke of Babylon.
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Higgins, Laura, Peter D. MacIntyre, Jessica Ross, and Heather Sparling. "The terror management effects of a disaster song." Psychology of Music 48, no. 1 (June 26, 2019): 137–49. http://dx.doi.org/10.1177/0305735618792404.
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Following terror management theory (TMT), we hypothesized that listening to a disaster song could increase cultural worldview defenses in a manner similar to the mortality-stimulating essay typically used in TMT research. Participants were divided into four groups. Two of the groups received death-related themes: one wrote an essay about dying and the other group heard a song about men who died in a shipwreck. The other two groups received pain-related stimuli: one wrote an essay about dental pain and the other heard a song about a migrant worker’s painful separation from family. Dependent variables examined pro-social behavior, ranking one’s country, children, and emotions. Results showed similar effects for the mortality-stimulating essay and the disaster song on two variables: ranking one’s country in the world and the importance of having children. In addition, compared to the pain-of-separation song, the disaster song produced significantly more negative and less positive emotion ratings; the emotion ratings of the essay groups did not differ significantly. Results show that a disaster song can produce effects similar to those that have been observed for a mortality-stimulating essay. Further, the effects of disaster songs may extend to strengthening cultural worldview defenses.
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Dobie, Madeleine. "Assia Djebar: Writing between Land and Language." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 128–33. http://dx.doi.org/10.1632/pmla.2016.131.1.128.
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The death of assia djebar on 7 february 2015 marks the end of an era in literary and world history. The last survivor of the generation of Algerian writers who took up the pen in the mid-1950s as their country embarked on its historic struggle for independence from France, Djebar continued writing long after the deaths of Mouloud Feraoun (1962), Kateb Yacine (1989), Mouloud Mammeri (1989), and Mohammed Dib (2003). With her death, the age of decolonization and African revolution as it resonated in literature seems truly to have come to a close. Djebar was the only woman among the Algerian literary pioneers, and her work, which includes novels, essays, documentary films, and plays, explores, above all, the experience of Algerian women. Challenging official nationalism, these counternarratives tell stories about women's roles in war in which the political doesn't efface the personal and victory doesn't signal the end of suffering or the fading of loss. This oppositional stance was carried even into the rituals observed in the aftermath of her death. Official services conducted at the airport and the Palais de la Culture in Algiers were shadowed and indeed overshadowed by less-formal ceremonies in which family, friends, and members of Algerian women's movements recited poetry and chanted Berber songs.
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Vasic, Aleksandar. "Problem of the ′national style′ in the writing of Miloje Milojevic." Muzikologija, no. 7 (2007): 231–44. http://dx.doi.org/10.2298/muz0707231v.
Full textAbstract:
Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary Magazine, 1912, 1913, 1914, 1923, 1924, 1935), Prosvetni glasnik (The Educational Herald, 1914, 1921, 1942), Politika (The Politics, 1921, 1922 1923, 1937, 1938, 1940, 1941), Muzika (The Music, twice in 1928) Spomenica-album Udruzenja muzikanata Kraljevine Jugoslavije 1928-1930 (The Commemorative Volume - The Album of the Society of Musicians of the Kingdom of Yugoslavia 1928-1930, 1930), Smena (The Change, 1938), and Slavenska muzika (The Slavonic Music, 1940). In the course of those thirty years Milojevic passionately believed that the future of Serbian music lies in the ?national style?, i.e. in the artistic transformation of anonymous Serbian folk songs and melodies. In spite of the changes of styles that occurred over the years, he never gave up anticipating the appearance of an ingenious composer who would develop the ?national style? to its climax and enrich Serbian music with ?national? symphonies, operas and chamber music. Milojevic was in favour of a ?national style? mainly on principle. He rarely got into a discussion about the stylistic and technical means he considered most suitable for the ?national style?. In his text Nas muzicko umetnicki program (Our music and artistic programme), published in the Serbian Literary Magazine in 1913, and another article, Za folklornu muziku (In favour of Folk Music), published in the Belgrade daily newspaper Politics in 1921, he recommended that Serbian ?national style? composers followed the model of some representatives of the European national schools of romanticism impressionism and moderately modern music. In a special kind of manifesto Za ideju umetnosti i umetnickog nacionalizma kod nas (In favour of the idea of art and artistic nationalism in Serbia), published in 1935 in the Serbian Literary Magazine, he gave an indirect answer to the question of which means of musical expression he preferred in the ?national style?. For example, he singled out the composition Sever duva (North Wind) by Kosta P. Manojlovic (1890-1949), from his collection of choral songs Pesme zemlje Skenderbegove (The Songs from the Land of Skenderbeg, 1933), as an outstanding example of what he meant by ?national style?. This Albanian folk music was transformed into a relatively modern, but yet not avant-garde composition. Therein lies the answer as to what kind of ?national style? Milojevic preferred. An advocate of a moderately modern music language, he wished Serbian art music to use its very rich folk heritage as best as it could. He was well aware that times had changed, and that there was not much inclination towards this style and ideology in the interwar period. However, he never abandoned this idea. Basically, he never accepted more radical, expressionist treatments of folk elements as a solution to the problems of ?national style?. It is also very significant that he never mentioned the name B?la Bart?k in his writings, which is something we analyze in this paper. He was never able to give up romanticism, a style that never had time to fully develop in Serbian music. Serbian folk music was a perfect basis for composing in a romantic style. Nevertheless, due to many unfavourable circumstances in Serbian history, the Serbs became part of European music world only at the beginning of the 20th century, when it was too late to develop a modern romantic national style.