Dissertations / Theses: 'Hymn to'

1

Evans, Stephen. "Hymn and epic : a study of their interplay in Homer and the "Homeric hymns /." Turku : Turun Yliopisto, 2001. http://catalogue.bnf.fr/ark:/12148/cb39233957r.

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Rigney, Ranelle. "The hymn-book controversy of 1882." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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3

Huebscher, Stephen Lenard. "Theological change in the eucharistic hymn-texts of Brian Wren and Isaac Watts." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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4

Pratt, Andrew. "The origin of the Methodist Hymn Book." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722134.

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Krebbs, Ralph Stephen. "Nietzsche's hymn to life : a Buddhist reading /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Gordley, Matthew E. "The Colossian hymn in context : an exegesis in light of Jewish and Greco-Roman hymnic and epistolary conventions /." Tübingen : Mohr Siebeck, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2921592&prov=M&dok_var=1&dok_ext=htm.

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7

McGahey, James R. "The Colossian hymn its form, background, and Christology /." Theological Research Exchange Network (TREN), 1985. http://www.tren.com.

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8

Taylor, Glen Allen. "An exegetical study of Nahum's hymn to Yahweh /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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9

Swihart, Rex L. "The Chronicler's hymn I Chronicles 16:8-36 /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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10

Smith, Lynette Arlene. "Hannah's hymn an exercise in contemporary Orthodox hermeneutics /." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p090-0336.

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11

Doyle, Ryan J. "The significance of [PROTOTOKOS] in the Colossian hymn." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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12

Khwela, Princess Phiwakahle. "African culture and its influence on the hymn." Thesis, University of Zululand, 1988. http://hdl.handle.net/10530/1283.

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Submitted in partial fulfilment of the requirements for B.A. Honours degree in the Department of African Languages at the University of Zululand, South Africa, 1988.
The aim of study is to motivate cultural heritage amongst Africans, to despise the past in their musical ability and be self-!'reliant and original instead of imitating the Western musical systems entirely.

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13

Aalders, Cynthia Yvonne. "To express the ineffable the problems of language and suffering in the hymns of Anne Steele (1717-1778) /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p048-0332.

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14

Gibson, J. Daniel. "A homiletical hermeneutic for the re-writing of hymn texts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ53267.pdf.

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15

Devlin, Nicola Gillian. "The hymn in Greek literature : studies in form and context." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295892.

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Thomas, Oliver R. H. "A Commentary on the Homeric Hymn to Hermes 184-396." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519824.

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Tsartsidis, Thomas. "Commentary on Prudentius' 'Hymn to Romanus' 1-650 ('Peristephanon' 10)." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25434.

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This thesis is a commentary on lines 1-650 of Prudentius’ hymn to the martyr Romanus. Although printed in modern editions as the tenth poem of Prudentius’ Peristephanon, a collection of poems on various martyrs, certain features of the work in form and content differentiate it from the rest of the collection. These features include its length (1,140 verses; almost twice as long as Peristephanon 2, the second longest), its title, its place in manuscript transmission, the fact that the city where Romanus’ martyrdom takes place is never mentioned, and the inclusion of long sections of anti-pagan invective. This commentary aims to investigate its singularity and attempts to establish how it fits into Prudentius’ oeuvre. In the commentary proper I provide a general philological and historical elucidation of the text. I particularly focus on language, on identifying and interpreting allusions, and on discussing themes that recur in Prudentius’ works as well as contemporary and earlier literature. In the Introduction I offer an overview of the life and works of the poet; the dating; the textual transmission; other extant sources on the martyr Romanus and the relationship between them; the question of whether this poem belonged to the collection of the Peristephanon; and generic and particular influences on the poem from both Christian and secular literature, which are often combined in the text in interesting ways. The exploration of all these aspects of the text together with the close reading offered in the commentary itself contribute to a fuller understanding of this remarkably complex work.

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18

Hackworth, Corey M. "Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1419190918.

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Chappell, Michael David. "A commentary on the Homeric Hymn to Delian Apollo, with prolegomena." Thesis, University College London (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336331.

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The thesis consists of a detailed commentary on the Homeric Hymn to Delian Apollo, and prolegomena. The subjects treated in the prolegomena are: (i) the structure of hymns, and of the Homeric Hymns in particular, with a discussion of the context in which the Hymns were performed, concluding that they were probably performed at festivals as preludes to recitations of epic poetry; (ii) the narrative techniques of the Hymns, comparing them to Homer; (iii) the treatment of the gods in the Hymns, discussing the ways the gods are presented in the narratives, and the similarities to and differences from the depiction of the gods in Homer; (iv) the portrayal of Apollo and Delos in DAp, discussing the problems of depicting a god in literature, and the relationship between the myth told in the hymn and Delian cult; (v) the language of the hymn, discussing the history of studies of the Hymns' language, examples of un homeric usage and the relationship of the Hymns to Homer and Hesiod; (vi) the question of whether the hymn was orally composed, discussing the various criteria that have been used to attempt to determine this, and concluding that oral composition cannot be proved but is very likely; (vii) the problem of the hymn's unity, or lack of it, discussing the history of the various theories and concluding that the hymn is not an original unity, and that the Delian hymn was composed as an addition to the pre-existing Pythian hymn; (viii) the date of DAp, concluding that it may have been composed in the second half of the sixth century, possibly for a festival held by Polycrates in 523/2 B.C. The commentary deals with linguistic and literary points, and any religious, historical or geographical issues that are raised by particular passages.

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Cho, Nancy Jiwon. "The ministry of song : unmarried British women's hymn writing, 1760-1936." Thesis, Durham University, 2006. http://etheses.dur.ac.uk/1822/.

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Because they were not obliged to take on the familial tasks which until recently have defined woman's role, unmarried British women of literary talent and Christian conviction have often seen themselves as being called to the vocation of hymn-writing. Through biographical study, historical contextualisation and close reading. this thesis examines hymns written by seven such writers, over the period 1760-1936. Chapter 1 examines how Anne Steele's hymns gained entry into print, and came to be circulated and popular. It also demonstrates how the image of Steele as a sickly spinster perpetuated by the Victorian hymnologists is too limited a picture of the writer. Chapter 2 considers two labouring-class hymn writers, Susanna Harrison and Eliza Westbury, and shows how they were heavily influenced by the images and stylistic features of the earlier male hymn writers from the Evangelical tradition. Chapter 3 looks at Charlotte Elliott's writings, which were mostly for invalids, and considers how nineteenth-century Evangelicals often envisaged invalidism as a time for refinement of faith and spiritual action, and the `cult of invalidism' is contextualised. Chapter 4 considers how the writings of Dora Greenwell championed the underprivileged, and envisaged the second coming of Christ as a time for the vanquishing of evil and injustice. Chapter 5 looks at the work of Frances Ridley Havergal, one of the most popular hymn writers of the Victorian era. It considers her Evangelical background, her interest in organisations which encouraged female fellowship and ministry (such as the YWCA, the Mildmay Deaconess Institution and the Zenana missionary organisations), and the transformation of her active faith into a more contemplative one after her experience of `Consecration'. Chapter 6 examines the work and life of the Anglo-Indian hymn writer Ellen Lakshmi Goreh, and considers in further detail the opportunities offered to British women by the call for Zenana missionaries. Chapter 7 looks at the life and writings of Amy Carmichael, founder of the Dohnavur Fellowship, who spent most of her life working as a missionary in India. It shows how her hymns, which owe a debt to the Holiness Movement and its stress on the `rest of faith', and were mostly written for Indian children, are an early example of Indian inculturation.

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Rhyan, Dianna Kay. "The Homeric Hymn to Demeter and The Art of Rape: Transforming Violence /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu148793151261785.

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22

Winder, Stephanie J. "The ancient quarrel between poetry and philosophy in Callimachus' hymn to Zeus /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487948807587843.

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Faulkner, Andrew. "The Homeric hymn to Aphrodite : introduction, text and commentary on Lines 1-199." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410786.

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24

Warson, Gillian Ruth. "From psalmody to hymnody : the establishment of printed hymnbooks within hymn singing communities." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/6051/.

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The aim of this study is to discuss developments in the presentation and singing of hymns from the minimal involvement of late eighteenth century congregations to the full participation expected in the late twentieth century. One source of important musical, social and cultural details illustrating developments in hymnody is found in a range of representative novels. This information is corroborated by other written accounts such as diaries, census material and church records. Early on in the research three handwritten part-books were discovered, dating from 1837 to 1911. This primary source material is vital in the discussion concerning changes in hymn and psalm tunes, and provides substantive evidence that such part-books are forerunners of published hymnbooks. Furthermore a direct link is established between local manuscripts and fictional writing as the provenance of the earliest part-book is traced to the family of novelist Flora Thompson. Further developments in hymnody are seen in the examination of children's hymns. A case study is presented of the flourishing tradition of hymn singing at Bicester Methodist Sunday School. One innovation was the formation of a harmonica band, and detailed notebooks and concert plans reveal the range of the band's sacred and secular programme. A fieldwork survey was conducted to investigate the hymn singing preferences of regular worshippers from five Christian denominations in Bicester. Whilst the responses reveal few differences between the groups, there is compelling evidence that the popularity of certain published hymnbooks has led to a common ownership of hymns, enabling them to be enjoyed both in and out of worship. This study therefore reveals the clear line of development from psalmody to hymnody, from handwritten manuscripts to published hymnbooks. The social context in which both texts and tunes are considered provides a clear illustration of the importance of hymns to the singing population.

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25

Leask, Margaret Anne. "The development of English-language hymnody and its use in worship, 1960-1995." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1532/.

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26

Brashier, Kenneth Edward. "Evoking the ancestor : the stele hymn of the Eastern Han Dynasty (25-220 C.E.)." Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/272286.

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Arrington, James N. "The Journey Home: A Root-metaphor Analysis of the 1840 Mormon Manchester Hymn Book." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/412.

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In 1840, apostle missionaries for the Church of Jesus Christ of Latter-day Saints compiled, printed, and began distributing a hymnbook that eventually would become the basis for all subsequent LDS hymnbooks published in English in the nineteenth and twentieth centuries. This thesis, as a contribution to the literature of communication, book history, and hymnology, as well as the intellectual and cultural history of the early years of the LDS Church, focuses on analyzing the poetry of the 1840 Mormon Manchester hymnbook. Using qualitative root-metaphor analysis, the author identified and analyzed expressions, supporting an emergent journey root-metaphor. He then divided the expressions into eight categories, each describing important and distinct aspects of the Journey. These categories include the following: 1) the travelers, 2) the activities on the journey, 3) the way, 4) the destination, 5) the guide, 6) the invitation to come, 7) the motivations, and 8) the lost wanderers. This thesis is based on the assumption that cultures and religions can be understood through the stories they tell. The story of the journey as told through the poetry of the 1840 Manchester hymnbook illuminates one aspect of the religious experience of early members of the Church of Jesus Christ of Latter-day Saints. Taken together, the eight aspects of the journey root-metaphor identified in this thesis tell a story about LDS members as travelers on a journey home, who walk on a straight and narrow path, away from a dark and fallen world, through snares, darkness, and other dangers, toward a glorious destination where rest, joy, and other rewards await them. Ultimately the travelers must rise above this world and follow Christ to a place where they may live with God to serve and praise him ever more.

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Allan, Arlene Leslie. "The lyre, the whip and the staff of gold : readings on the Homeric Hymn to Hermes." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288714.

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Morgan, Victoria N. "'Twas as Space sat singing / To herself - and men - ': Emily Dickinson and Hymn Culture: Tradition and Experimentation." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485894.

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This thesis investigates the relationship between the expressions of spiritu'ality in the poetry of Emily Dickinson and the representations of spirituality associated with the hymn culture she encountered. Drawing upon contemporary women hymnists and the influence of the hymns of Isaac Watts, the thesis traces the dissent and challenge to the hierarchical 'I-Thou' model ofrelation in traditional hymn address and shows how Dickinson engaged with it. Watts's Dissenting position has been overlooked in previous discussions of Dickinson's use of the' hymn form. Women hymnists contemporary with Dickinson, who also sought to redefine God in ways more compatible with their own experience, have similarly been ignored when considering the impact of hymn culture on Dickinson's poetry. This cultural context is further illuminated by the debates concerning alternative versions of the divine found in recent feminist theology. Like the redefinitions of the expectations surrounding hymns, these feminist debates centre around ideas of community and relation and so are used as a basis for the exploration ofthe emphasis on multiple and diverse relation in Dickinson's poetics. The thesis is divided into three sections that are preceded by an Introduction which describes the overall scope of the project. The first section (Chapters One and Two) describes the history ofhymn culture and analyses current debates about hymns and hymn space. The second section (Chapters Three and Four) examines the literary contexts and influences surrounding Dickinson's writing and engagement with hymn culture, as exemplified by the work ofIsaac Watts, Phoebe Hinsdale Brown and Eliza Lee Follen. The third section (Chapters Five and Six) offer detailed analysis of a selection ofDickinson' s hymnic poems, focussing on her use ofbee imagery. The conclusion the thesis reaches is that Dickinson's relation to hymnody is more wide-reaching, complex and subtle than criticism on this area has allowed. Far from being contextless and siteless, the radical re-visioning of the divine to be found in Dickinson's 'alternative hymns' can be situated within an engagement with a community of hymn writers. The 'I-Thou' relation to be found in traditional hymn address IS something that Dickinson's poetics negotiate through the various alternatives they forge in the imagery of flight and relation which serve as mobile and fluid metaphors for the divine. Moreover, such metaphors display similarities not only with the ideas of 'relation' and 'community' ofrecent feminist theology, but also with the qualities of mystical discourse as understood by Michel de Certeau, both in their ability to voice the other, and also in their radical mode of relation to the'discourses that produced them.

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Gordley, Matthew E. "The Colossian hymn in context an exegesis in light of Jewish and Greco-Roman hymnic and epistolary conventions." Tübingen Mohr Siebeck, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2921592&prov=M&dok_var=1&dok_ext=htm.

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31

Niousha, Eslahchi. "BEYOND THE WATER: HOW PRONUNCIATION AFFECTS MELODY IN THE ZOROASTRIAN HYMN " THE WATER'S BIRTHDAY" IN AHMAD-ABAD, IRAN." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1595845477078896.

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32

Grassien, Céline. "Préliminaires à l’édition du corpus papyrologique des hymnes chrétiennes liturgiques de langue grecque." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040249.

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Cette thèse prépare l’édition du corpus des hymnes chrétiennes liturgiques de langue grecque conservées par les sources papyrologiques trouvées en Égypte et datées entre le IVe et le IXe siècle. L’introduction définit les termes du sujet, fixe la terminologie poétique et liturgique et justifie les limites chronologiques et géographiques du corpus. La première partie (vol. I t. 1) expose les étapes de la constitution du corpus de la collecte des papyrus, établit le protocole d’identification et de sélection des papyrus et propose un classement croisant quatre principes, par document entier, par destinataire du culte, par modèle littéraire et par thème liturgique Une deuxième partie (vol. I t. 2) rassemble cinq études préparatoires à l’édition des papyrus, puis une étude illustrant les problèmes d’édition posés par neuf papyrus remarquables et une synthèse destinée au futur Dictionary of Hymnology. Elle comporte trois annexes détaillant l’apport des autres sources anciennes transmises par la tradition manuscrite au travail du papyrologue, les principes de la poésie religieuse byzantine de rythme accentuel et une liste des hymnographes chrétiens anciens de langue grecque, ainsi qu’une bibliographie générale. Un CD-ROM de planches numérisées de 21 papyrus servant à la datation paléographique ou éditées dans les études est joint (non communicable). Le vol. II (t. 1 et 2) contenant les éditions des 209 papyrus (avec présentation matérielle, bibliographie, édition du texte grec, reconstitution en grec normalisé, apparat critique) est communiqué au jury afin de permettre la discussion du classement proposé dans la thèse
This thesis presents the preparation of an edition of christian liturgical hymns, in greek, on papyrological materials discovered in Egypt, dated between the 4th and 9th centuries. The introduction defines the subject, clarifies the liturgical and poetic terminology and determines the chronological and geographical boundaries of the corpus of 209 hymns. The first part of the first volume describes the steps in assembling the corpus, establishes a protocol for referencing the papyri and proposes four levels of classification: by document, by religious entity, by literary type and by liturgical topic. The second part of the first volume contains five preparatory studies for editions of the papyri, a paradigmatic study of the problems confronted in the editions of nine specific papyri and a general summary destined for an upcoming publication in the Dictionary of Hymnology. This first volume includes three annexes: a list of ancient sources whose texts survived through manuscript copies, a detailed description of the principles of rhythmic accents in byzantine religious poetry and a chronology of early christian hymnographers in the greek language. There is also a general bibliography at the end of the volume and a CD-ROM that contains digital images of 21 papyri that are either included in the preparotory studies or that served as paleographic paradigms for the dating of the materials. The second volume of the thesis contains editions of 209 papyri. These includes editions of the original greek texts, apparatus criticus, normalized editions of the greek texts and bibliographies. This second volume was provided to the jury only, in order to foster and support a discussion of the classification systems determined within the thesis

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Baxter, David Joseph. "The resilience of the eighteenth century hymn in contemporary Church of Ireland (Anglican) worship : a liturgical study / David Joseph Baxter." Thesis, North-West University, 2012. http://hdl.handle.net/10394/8005.

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The combination of observational, anecdotal and circumstantial evidence suggests that, in the present-day Christian church, older, traditional hymns are slowly but inexorably being replaced by modern, contemporary ones. Whilst it is a truism that hymnody, like every other aspect of civilisation, moves forward with the times, there still remains a large number of people, congregations and clergy for whom the early eighteenth century English hymn is a genre that remains ever-popular. This research focuses deliberately on the eighteenth century hymn for four main reasons. First, hymns from this period are widely used in most Christian denominations. Second, the eighteenth century was a particularly fertile period for hymnody. Third, this was the era of Watts and Wesley, arguably two of the greatest hymn writers of all time; their burgeoning popularity thrust the eighteenth century into a period of proclivity for hymn writing. Finally, the whole area of hymnody in the Church of Ireland appears to be under-researched. Thus, in seeking to determine why older, more traditional hymns continue to be published in Church of Ireland hymnals this research fills a very obvious gap. This study establishes that this resilience is real and not merely perceived. Eighteenth century hymns are still widely sung in today’s Church, irrespective of size, location, setting, status, leadership or congregation. The study explores the many reasons behind this resilience—reasons that go beyond the more obvious musical and liturgical ones and highlight the impact of hymnody from a variety of angles.
Thesis (PhD (Liturgics))--North-West University, Potchefstroom Campus, 2012

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34

Edwards, Robyn L. ""They also serve who only stand and wait" resignation in the lives of Charlotte Elliott, Frances Havergal and Fanny Crosby /." Theological Research Exchange Network (TREN), 2001. http://www.tren.com.

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Cooper, Gavin M. "Raising the Voice for Communion and Conquest: Hymn Singing in Contact among the Brainerd Missionaries and the Cherokees, 1817-1838." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/rs_theses/34.

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Many scholars have recognized the communicative and emotive power of singing as a ritual performance, and some have argued that hymn singing has played a significant role as a medium of cultural and religious communication and exchange. To better understand how and why singing might facilitate such exchange, this essay explores as a case study, the role of hymn singing in the cultural contact between the Cherokees and the missionaries at Brainerd, near Chattanooga, TN. By examining accounts of ritual singing recorded by both missionaries and Cherokees, the project illuminates how these communities, respectively, may have understood the role of singing in ritual practice. From these different perceptions of ritual singing, one can better understand how the Cherokees may have experienced resonances with the missionaries’ practices, which would encourage cultural assimilation and exchange. In turn, this study contributes to a larger conversation about music and religious expression.

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36

DEEG, Max. "SHAMANISM IN THE VEDA: THE KEŚIN-HYMN (10.136), THE JOURNEY TO HEAVEN OF VASIṢṬHA (ṚV.7.88) AND THE MAHĀVRATA-RITUAL." 名古屋大学印度哲学研究室 (Department of Indian Philosophy, University of Nagoya), 1993. http://hdl.handle.net/2237/19181.

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37

James, Scott. "Singing from the same hymn sheet? : Europeanisation and European policy making in the UK and Irish core executives, 1997-2007." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496760.

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This study sets out to analyse the pervasive and profound impact of European integration on national patterns of policy making within the core executive. As a comparative study of the UK and Ireland it explores how national EU policy is coordinated and projected, and explains how and why this process has changed over the past decade. The study aims to shape the nature and direction of research in this dynamic field in two key respects. First, it makes an innovative contribution to the concept and analysis of Europeanisation within the core executive, delineating between five distinctive modes through which change may be induced. It does so by rejecting conventional 'top down' accounts of domestic change in favour of a 'bottom up' research design that allows us to attribute relative causation to European integration. Second, the study adds considerable value to existing empirical accounts of domestic change by employing a distinctive strategic-relational network framework in order to map the changing face of policy making within the UK and Irish EU policy networks, and to evaluate and explain the impact of adaptation over time and its potential implications for policy outcomes. This provides a far more dynamic picture of domestic adaptation.

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38

Nilsson, Ann-Marie. "On liturgical hymn melodies in Sweden during the Middle Ages : summary and comments on four articles and a research project /." Göteborg : A.-M. Nilsson, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955638b.

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39

Brueck, Julia Christine. "A study of Peter Christian Lutkin's philosophy of church music and its manifestation in the hymn tune transcriptions for organ (1908)." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/471.

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40

Daifotis, Melanie. "The Myth of Persephone: Body Objectification from Ancient to Modern." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1529.

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Implications surrounding body ownership prove to be an enduring struggle from their prevalence in ancient literary sources through more modern, contemporary works. I analyze the notions of body ownership and its lack thereof set forth in Ovid’s Metamorphoses and the Homeric “Hymn to Demeter” regarding the myth of Persephone. Then, I consider larger meanings through analysis of the following contemporary works, approached in terms of the narrators: Rita Dove’s Mother Love, Louise Glück’s Averno, A.E. Stallings’s “Hades Welcomes His Bride” and “Persephone Writes a Letter to Her Mother,” and D.M. Thomas’s “Pomegranate.” The complexities within the myth itself amplify the complications in the contemporary interpretations of the myth. There is a range of differing levels of accepting sentiments in the contemporary works about the idea that no one ever has complete ownership or control over his own body. Comparing the different lenses through with the contemporary authors (and ancient authors!) chose to incorporate the myth of Persephone into their works reveals overarching themes, enlightening the reader about the nuances of the arguably most famous abduction in history.

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41

Massi, Maria Lucia Gili. ""Deméter: a Repulsão Medida"." Universidade de São Paulo, 2001. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-28102003-154241/.

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O presente estudo, incluindo a tradução do texto grego, dedica-se à natureza e sentido da Mãe-Terra, mostrando que o Hino Homérico comemora o inviolável e eterno ser de Deméter e sua filha Perséfone, narrando a reação repulsiva da mãe diante da violência paterna que dá a filha deles como esposa ao rei do Hades, ignorando os laços consangüíneos que as unem. Irada, a Mãe-Terra age, pondo em risco a estabilidade cósmica até que, limitada por sua moîra coercitiva, encontra e propõe um acordo mediador, que põe fim ao conflito e leva seu poder a ascender na sagrada ordem do poder de Zeus pai.
The present study, including the translation of the Greek text, dedicates itself to the nature and sense of the Earth Mother, explaining that the Homeric Hymn commemorates the inviolable and eternal being of Demeter and her daughter Persephone, narrating the mothers repulsive reaction before the paternal violence who gives their daughter as wife to the king of Hades, ignoring consanguineous laces that associate them. Angry, Earth Mother acts, putting in risc the cosmic stability until, limited by her coercive moîra, finds and proposes mediator accord, which ends the conflict and makes her power to ascend to the sacred order of the Zeus fathers power.

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Macedo, José Marcos Mariani de. "A palavra ofertada: uma análise retórica e formal dos hinos gregos e da tradição hínica grega e indiana." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13022008-110231/.

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O objetivo do trabalho é analisar alguns elementos retóricos e estilísticos de certos hinos gregos de várias épocas. Partindo deles, são estudos também alguns hinos da tradição indiana mais antiga, contidos no Rig Veda, a fim de sugerir traços comuns a essas duas tradições hínicas indo-européias e as suas respectivas especificidades. A tese procura apontar, com base na leitura de hinos paradigmáticos, as estratégias formais dos poetas para louvar a divindade. A preocupação básica é com as estruturas dos hinos, com os expedientes de que se vale o poeta para expressar seu louvor. São descritos os meios com que, no hino grego, a divindade é atraída para perto e como, em certos poemas, essa convenção é quebrada para alcançar efeitos literários. Estudam-se pares contrastantes que estruturam a composição de determinados hinos e também como esse mesmo contraste, em outros casos, é deliberadamente borrado em benefício do louvor. Quanto aos hinos rigvédicos, sugere-se uma forma peculiar a partir do qual se estruturam, a saber, a partir do seu centro. Conclui-se que, em ambas as tradições - a grega e a indiana - o hino é uma oferenda que instaura entre deus e devoto uma relação de reciprocidade na qual ele próprio, hino, atua como objeto de troca - um objeto de troca digno da estima divina, que chama atenção sobre si mesmo à força da sua elaboração estilística e retórica.
This work aims at analyzing some rhetorical and stylistic features of some Greek hymns from various periods. Taking them as a starting point, some hymns from the Rig Veda will be studied as well, in order to assess certain common characteristics of both hymnic traditions and their peculiarities. Based on the close reading of the hymns, the author tries to show the poet\'s formal strategy to praise the deity. The structure of each hymn is a main concern, as are the devices used by the poet to give voice to his praise. As for the Greek hymns, it will be described how the poet persuades the deity to come near and how he builds his work based on contrasting pairs. As for the Rigvedic hymns, it is suggested that some of them are organized around its middle section. The conclusion to be drawn is that in both traditions - in the Greek and the Indian one - the hymn is an offering that creates a bond of reciprocity between deity and his worshipper. The hymn itself is valued in the exchange by means of its stylistic and rhetorical quality.

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Robb, Stuart James. "To begin, continue and complete : music in the wider context of artistic patronage by Pope Alexander VI (1492-1503) and the hymn cycle of CS 15." Thesis, University of Manchester, 2011. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:122374.

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This thesis takes as its area of exploration the papal chapel choir and its repertory, alongside the papacy and its patronage of the arts at the end of the fifteenth century. It draws on previous research concerning the singers, polyphonic manuscripts and artistic culture of the Vatican, but places Pope Alexander VI as the central figure of the thesis, showing schemes of patronage that shaped his reign. The research presents a transcription and analysis of the hymn cycle contained within the manuscript Cappella Sistina 15, alongside an assessment of the polyphonic music collection and places these against accounts of music making and evidence of music copying at the papal chapel during Alexander’s reign. The thesis also considers the environment of secular music making at Alexander’s court. In order to provide a context in which to understand this information, the life of Alexander VI is examined, tracing his artistic patronage and involvement with music both prior to his election and afterwards. Of particular note is the engagement of the artist Pintoricchio to decorate the papal apartments. Here, the artist’s representation of music as part of the seven liberal arts is analysed, providing a unique, contemporary and important insight into music practices in Alexander’s court. Three classifications of patronage are identified for Alexander’s reign, while also showing that these were strategies that he had used before he became pope. The music culture at the papal chapel is shown to be part of this strategy, through the consolidation of old music and the introduction of new music into the repertory, ending a task that had taken approximately 60 years. It shows that Alexander’s reign was an important period musically, that instituted new musical traditions and created an environment that prepared the way for the golden ages of patronage of Julius II and Leo X.

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Brown, Jeremy Scott. "A selected annotated list of wind band works by Henry Cowell and a performance edition of his Hymn and Fuguing Tune No.1 for Symphonic Band." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335455406.

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Zanon, Camila Aline. "Onde vivem os monstros: criaturas prodigiosas na poesia hexamétrica arcaica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-13022017-130921/.

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O objetivo desta tese é analisar as criaturas amiúde consideradas monstruosas bem como os termos geralmente traduzidos por monstro presentes em três poemas da tradição de poesia hexamétrica arcaica, a saber, a Teogonia de Hesíodo, o Hino Homérico a Apolo e a Odisseia de Homero. A análise dessas criaturas tem como foco o modo como são descritas e o papel que desempenham nas narrativas contidas nesses poemas, para a qual são utilizadas como abordagem teórico-metodológica a referencialidade tradicional proposta e desenvolvida por John Miles Foley ao longo da década de 1990 bem como a perspectiva de que os poemas que constituem a tradição hexamétrica arcaica compõem uma história do cosmo, conforme desenvolvida por Barbara Graziosi e Johannes Haubold na década de 2000. Como resultado da análise das criaturas, de um lado, e dos termos traduzidos por monstro, de outro, questiona-se a pertinência da categoria monstro como geralmente pressuposta para essas criaturas no mundo moderno, tendo-se em vista que ela possa não existir na poesia hexamétrica arcaica, já que fazem parte de um sistema de pensamento em um mundo ainda não desencantado em termos weberianos, no qual a realidade empírica e a esfera divina enquanto representativa do sobrenatural estão profundamente imbricadas. Como instrumental teórico-metodológico para o questionamento acerca da existência ou não do monstro enquanto categoria em tal tradição poética, lançou-se mão das teorias de categorização de Wittgenstein, desenvolvida nas décadas de 1940 e 1950, daquelas desenvolvidas por Eleanor Rosch e sua equipe durante a década de 1970, bem como as presentes nas obras de George Lakoff a partir da década de 1980. A proposição de que a categoria monstro como pressuposta e entendida no mundo moderno é inexistente para a poesia hexamétrica arcaica tem implicações na compreensão moderna dessas criaturas, que devem ser percebidas enquanto integrantes de um cosmo que não separa o sobrenatural, o maravilhoso e o divino nos mesmos termos que o faz a sociedade moderna ocidental, revelando a necessidade de compreender essas criaturas sob o ponto de vista da tradição que as criou ou as incorporou e ressignificou.
The aim of this thesis is to analyse the creatures often considered monstrous as well as the words generally translated as monster in three poems belonging to the tradition of archaic hexametric poetry, namely, Hesiod\'s Theogony, the Homeric Hymn to Apollo, and Homer\'s Odyssey. The analysis of the creatures focuses on the ways they are described and the role they play in the narratives presented in those poems. The theoretical and methodological approach used to such analysis is the traditional referenciality proposed and developed by John Miles Foley in the 1990\'s in addition to the perspective that such poems that inform the archaic hexametric tradition constitute a history of the cosmos, as developed by Barbara Graziosi and Johannes Haubold during the 2000\'s. The analysis of the creatures, in one hand, and of the words translated by monster, in the other, results in questioning the validity of the monster category as usually taken for granted in the modern world, considering that it might not exist in archaic hexametric poetry, since those creatures are part of a system of thought in a world not yet disenchanted in Weberian terms, in which the empirical reality and the divine sphere as representative of the supernatural are deeply entangled. As theoretical and methodological framework for questioning the existence of monster as a category in such poetical tradition, this thesis adopted the theories of categorization formulated by Wittgenstein during the 1940\'s and 1950\'s, as well as the theories developed by Eleanor Rosch and her team during the 1970\'s, along with the ones presented by George Lakoff from 1980\'s onward. The proposition that the category of monster as pressuposed and understood by the modern world is non-existent in archaic hexametric poetry has consequences to the modern understanding of those creatures which must be perceived as part of a cosmos that does not separate the supernatural, the wonderful, and the divine in the same terms as the modern western world does, revealing the need to understand those creatures under the point of view of the tradition that created them or incorporated and ressignified them.

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Bennett, Elizabeth Anne. "A study of Babylonian scholarship applied in the exploration of the meaning of divine and sacred names, as particularly exemplified in a syncretistic hymn to the goddess Gula." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26488/.

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Lippert, Jordan. "From Profane to Divine: The Hegemonic Appropriation of Pagan Imagery into Eastern Christian Hymnody." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/151.

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Spanning the first seven centuries of Christianity, this paper explores how Eastern Christian and Byzantine hymn chant was developed alongside pagan and Jewish worship traditions around the Near East. Comparison of hymns by Christian composers such as St. Romanos the Melodist and pagan poetry reveals many similarities in the types of metaphorical imagery used in both religious expressions. Common in Christian hymn texts, well-known metaphors, like the “Light of God,” are juxtaposed with pagan mythological gods, such as Apollo and Helios. This paper attempts to explain how and why Christians appropriated and adopted ancient pagan imagery into the burgeoning musical tradition of Christian hymn singing.

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Serpa, Danilo Chiovatto. "\"Seguindo lei firme, como outrora, gerado do caos sagrado, sente-se de novo o entusiasmo\": a representação do poeta e do seu fazer no hino alemão de Klopstock a Hölderlin." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-13052014-102550/.

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Esta dissertação gira em torno da representação do poeta no hino tardio (späte Hymne) de Hölderlin. A representação do poeta é abordada a partir da consideração de representações de poetas que lhe são anteriores, tanto no contexto da poesia lírica alemã do séc. XVIII, mais precisamente no âmbito dos hinos (Hymnen) desse período, como no da poesia da Antiguidade, com destaque para a grega, a qual era tratada com peculiar atenção por autores em língua alemã da época supracitada. Ideias elaboradas por autores de língua alemã da segunda metade do séc. XVIII acerca do hino e da relação da poesia antiga (mais uma vez com destaque para a grega e para Píndaro) com a literatura alemã são aqui retomadas (na seção quatro deste trabalho). O estudo da representação do poeta se baseou, sobretudo, em análises mais detidas de poemas. Foram analisados, além de dois poemas de Hölderlin Die Wanderung e Andenken (na seção cinco) , dois poemas de autores alemães que lhe precederam Das Landleben, de Klopstock, e Wandrers Sturmlied, de Goethe (seção quatro) e dois poemas do mundo antigo, o Hino Homérico 6: a Afrodite e a Pítica 1, de Píndaro (seção três). Procura-se identificar a representação do poeta nos poemas por meio dos gestos de fala, cuja conceituação é desenvolvida em uma das primeiras partes deste trabalho (seção dois). A forma simples que subjaz ao hino é a reza, cujos gestos, ainda que com algumas variações discutidas nos casos particulares, são encontrados, por fim, nos poemas acima indicados. O objetivo é compreender, através desta pesquisa, de modo mais geral, (a) o processo de constituição da imagem do poeta a partir de concepções do poeta legadas pela tradição e (b) as interseções e correlações entre poesia arcaica e moderna; entre o papel de poetas antigos e poetas de um mundo moderno. Certos poetas alemães do séc. XVIII retomam e perfazem, em outra circunstância e condições sociais e históricas diversas, gestos realizados por poetas da Antiguidade, os quais, por sua vez, apresentam funções e atividades concernentes à poesia da sociedade de que faziam parte. Poetas na Alemanha do séc. XVIII/XIX que realizam gestos daquela poesia antiga aparecem, por um lado, como visionários, iniciados, articuladores da voz de pedido e louvor da comunidade, núncios e profetas, e também, por outro, como alguém de sensibilidade, intérprete da poesia e da história, pessoa de grande percepção e genialidade. Contudo, não se exclui, na idade moderna, a predicação de loucura ao poeta que demonstra um entusiasmo não tão consequente ou que se perde na lida com Píndaro. Nesse percurso de retomada da poesia passada, mostrou-se significativo o estabelecimento de charis pelo poeta: um característico encontrado na poesia antiga que vai assumindo novas formas e objetos de articulação ao longo desses poemas mais modernos.
The present dissertation focuses on the poets representation in Hölderlins late hymn (späte Hymne). The approach to this poets representation considers the representation of poets that preceded Hölderlin, both in context of German lyric poetry from the 18th century the hymns of this time, to speak more precisely and in the context of ancient poetry, above all the Greeks, which were treated in a particular manner by German authors from the aforementioned period. The discussion German-speaking authors developed of hymns and of the aftereffects of ancient poetry (again with emphasis on Greek and Pindar) in this period of German literature is summarized (in section four of the present work). The study of the poets representation was based on more exhaustive analyses of poems: the Homeric Hymn to Aphrodite (no. 6) and Pindars first Pythian (in section three); Klopstocks Das Landleben and Goethes Wandrers Sturmlied (section four); Hölderlins Die Wanderung and Andenken (section five). The poets representation in the poems is identified through the gestures of speech (Sprachgebärden) typical of the hymn. The concept of gestures of speech is developed in the second section of this work. The simple form (einfache Form) underlying the hymn is the prayer (reza), whose gestures of speech were found in all the poems named above, although the sequence of the gestures can differ from on text to another. These differences and similarities are a topic of discussion during poems analysing and in the conclusion. In a more general manner, the present dissertation aims to comprehend (a) the formation of the poets image from conceptions of the poet presented by the tradition and (b) the parallels and correlations between archaic and modern poetry; between the ancient and modern role of the poet. Despite other occasions, different circumstances and social conditions, German poets perform gestures of speech that poets in antiquity presented within their functions and activities concerning the poetry in their society. German poets in the 18th century who used gestures of ancient poets are seen as initiated, heralds, prophets, the voices of praise and request of a community, also as visionaries, ones of especial sensitivity, exegetes of poetry and history, persons of great perception and genius. Nevertheless they can be seen as madman and frenzied. The establishment of charis appears significant: a feature of the ancient poetry that takes on new forms and objects of articulation throughout those modern poems.

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Ekström, Alva. "Inget är skapat utanför : Teologi och kontext i Anders Frostensons författarskap." Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1339.

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To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition.

The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth.

Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work.

Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context.

The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God.

The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture.

In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.

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Korolczyk, Marousia Ludwika. "Polsk poesi under mellankrigstiden: ett paradigmskifte : Exempel marialyriken." Doctoral thesis, Uppsala universitet, Institutionen för moderna språk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-158821.

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The dissertation examines how medieval poetic tradition was reactivated in the production of poetry from the period between the two world wars—the Polish interwar period, defined here as one of literary transition. The positioning in regard to certain literary conventions and the quest for a new normativity that is so prevalent in interwar poetry is also reflected in the era’s poetry on the theme of Mary. Marian lyrics, owing to their strong position in Polish literature (but also by dint of their role in Polish piety and national identity), serve as an indicator in identifying and defining certain poetic processes. Central to this are the respective relationships of Marian themes to tradition and to the poetic norms of the era: is a given poem located along the traditional axis (if so, which), does it run counter to it, or is it an innovation? The poems analysed—Julian Przyboś’ Heavenly Blue, Jerzy Liebert’s Litany to the Virgin Mary, Tytus Czyżewski’s De profundis, Maria Pawlikowska-Jasnorzewska’s The Black Portrait, Józef Czechowicz’ pious rhymes—represent disparate poetic models: the Krakow Avant-garde, Catholic literature, formism/futurism, the circle of Skamander, the Poetics of the Third Sphere in the Second Avant-garde. Reflected here is the broad spectrum of the period’s poetic trends, tendencies, and constellations—as are the historical and literary events of the era. Despite important differences in the poetic/aesthetic models, in these poems it is possible to identify shared characteristics relevant to this study, that is, elements of medieval poetry. The identifying criterion for these elements here is the concept of dogmatic formal language. In the poems medieval poetics are transformed into their own modern form and integrated into the respective poetic models. No other literary epoch offers what the poets are seeking better than poetic formal language modelled on medieval liturgical language. The five poets all participate in what has been called the interwar paradigm shift in Polish poetry—a parameter that only indirectly relates to modernism. The term high modernism (in the sense of the culmination of Polish poetic modernism) can serve to summarize the historical and literary delimitations and definitions in the study. As interwar poetry is indeed part of the definitive emergence and full expansion of modernism in Polish literature, serving as a link between tradition and innovation, such a study of the influence of high modernism and Marian lyrics on each other aspires to reflect general processes in the poetry of the time.

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Dissertations / Theses on the topic 'Hymn to'

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