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Journal articles on the topic 'Lament'

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Author: Grafiati

Published: 4 June 2021

Last updated: 26 April 2022

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1

Fenigsen, Janina, and James Wilce. "Authenticities: A Semiotic Exploration1." Recherches sémiotiques 32, no. 1-2-3 (December 10, 2014): 103–22. http://dx.doi.org/10.7202/1027774ar.

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Charles Taylor has called ours an “Age of Authenticity”, and authenticity is a popular object of scholarly examination, not least in anthropology. A considerable number of scholars have even proposed models for multiple “authenticities”. None, however, has brought a modified Peircean theoretical tool-kit together with ethnographic evidence that “the natives know” that there are many authenticities. This article seeks to fill that gap. Working with Peirce’s model of the sign and with postmodern theories of originals and replicas, we draw on Wilce’s Finnish fieldwork to analyze what we consider clear evidence of four authenticities arising in recent debates surrounding traditional Karelian lament and particularly highly organized attempts in Finland to “revive” the practice. We call performances arising out of the revival “neolaments”. We treat authenticities as strictly relational, metasemiotic, and ideological phenomena. Authenticities that appear salient to actors on the revivalist scene may involve the following relationships : that between any neolament performance and any particular Karelian lament performances, with the question being whether the former is adequately “traditional” (i.e. relationship between replica and original); between a particular lament performance and the generic essence of that which makes lament a lament (i.e. token and type); between a lament performance and emotion – a relationship ideologically construed as “expressive” (i.e. sign and object); and finally, a relationship between some sort of dynamic interpretant of particular old Karelian laments (lament1) and new dynamic interpretants generated in and through new lament performances (lament2 or habitual participation in such performance) that in some way replicates the old dynamical interpretant (interpretant1 and interpretant2).

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2

Melton, Narelle Jane. "Lessons of Lament: Reflections on the correspondence between the Lament Psalms and early Australian Pentecostal Prayer." Journal of Pentecostal Theology 20, no. 1 (2011): 68–80. http://dx.doi.org/10.1163/174552510x526232.

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AbstractThis paper reflects on research which discovered a correspondence between the form of the biblical lament psalms and the early Australian Pentecostal (1908 – 1937) practice of prayer. It is argued that this has significant implications for Christians today in relation to the critique that the contemporary church has lost the practice of lament. Specifically four dimensions of lament-prayer were considered for contemporary Pentecostal Christianity, including (1) the lament dialogue, (2) the lament protest, (3) the margins of lament, and (4) the glossolalic lament. Overall, it is proposed that Pentecostal Christians are uniquely situated to forge a path in light of these results and re-incorporate laments into their worship and pastoral care practises.

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3

MacPherson, Chelsey, Brian James MacLeod, Lodaidh MacFhionghain, and Laurie Stanley-Blackwell. "Converses with the Grave: Three Modern Gaelic Laments." Genealogy 5, no. 1 (March 15, 2021): 22. http://dx.doi.org/10.3390/genealogy5010022.

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Within Scottish deathways, the Gaelic lament has long served as a poignant and powerful outlet for loss. In this creative piece, three Canadian-born, Gaelic-speaking poets present their previously unpublished Gaelic laments along with English translations. This collaborative article is designed to demonstrate, in a creative rather than an academic format, that the venerable lament tradition continues to enjoy longevity and vitality in the present day as a literary expression of grief among Gaels. This article further demonstrates that modern Gaelic laments are not constrained by a strict fidelity to literary rules but strive instead to work creatively within tradition while reaching their audiences in a relevant and resonant way. For each poem, the author offers a personal contextualization for his/her lament, which serves to explain the source of inspiration and demonstrates how the work draws upon and reflects its literary roots. In recognition of the strong oral tradition present within Gaelic poetry, this article includes an audio recording of each of the three authors’ laments.

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4

Scarborough, Connie L. "A Female Voice for Action in the Tragicomedia de Calisto y Melibea." Medievalia 53, no. 2 (December 12, 2021): 71–90. http://dx.doi.org/10.19130/medievalia.2021.53.2.67984.

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Although most critical attention on laments for the dead in the Tragicomedia de Calisto y Melibea has focused on Pleberio’s long lament for Melibea in Auto XXI, Elicia’s lament for the loss of her lover, Sempronio, his companion, Pármeno, and her protector, Celestina, is highly significant for plot development. Her lament is a decisive event that sets in motion a plan for revenge that will ultimately lead to the deaths of Calisto and Melibea. This article demonstrates how Elicia’s personal experience of loss brings about significant changes in her characterization. With the help of Areúsa, Elicia hatches a plan for vengeance on the aristocratic lovers that she despises. Building on Louise Haywood’s studies of female laments for the dead, it examines Elicia’s curse on Calisto and Melibea and shows how her words have real and tragic consequences. In Rojas’s world, a prostitute’s expression of grief is a force strong enough to topple the elites of society and fundamentally contribute to the tragedia embedded in his work’s hybrid title.

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5

Reynolds, Kent Aaron. "The Answer of Psalm cxix 9." Vetus Testamentum 58, no. 2 (2008): 265–69. http://dx.doi.org/10.1163/156853308x265927.

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6

Pranoto, Minggus Minarto. "The SPIRIT AND LAMENT." Jurnal Amanat Agung 17, no. 2 (February 17, 2022): 273–98. http://dx.doi.org/10.47754/jaa.v17i2.516.

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Abstract: This article aims to explain about lament from the perspective of psychology and pneumatology. Psychology helps to explain psychic state of one who laments because of experiencing grief and bereavement; and pneumatology understands lament theologically by seeing and knowing God, self, and the world through the experience with the Holy Spirit in the believers. The two perspectives above are synthesized to understand the lament in the context of the life of believer. The method used is an interdisciplinary study between psychology and pneumatology by looking for connecting points that might fill and complement each other, especially in explaining the lament of believer. The thesis of this article is that the act of lament is a self-actualization of believer which can be explained from a psychology-pneumatology perspective and in lament the Holy Spirit transforms the life of believer. Lamentation can lead to an attitude of trust in God and the courage to continue with life again or, in psychologically term, a "restoration-oriented” life. Keywords: Spirit/Holy Spirit, lament, psychology, pneumatology, transformation. Abstrak: Artikel ini bertujuan untuk menjelaskan perihal ratapan dari perspektif psikologi dan pneumatologi. Psikologi membantu untuk menjelaskan keadaan psikis orang yang meratap karena sedang mengalami kedukaan (grief) dan kehilangan (bereavement); dan pneumatologi memahami ratapan secara teologis dengan cara melihat dan mengenal Allah, diri, dan dunia melalui pengalaman dengan Roh Kudus. Kedua perspektif di atas disintesiskan untuk memahami ratapan dalam konteks kehidupan orang beriman. Metode yang dipakai adalah studi interdisipliner antara psikologi dan pneumatologi melalui mencari poin-poin penghubung yang mungkin saling mengisi dan melengkapi terutama dalam menjelaskan ratapan orang-orang beriman. Pernyataan tesis tulisan ini adalah tindakan ratapan merupakan sikap mengaktualkan diri dari orang beriman yang dapat dijelaskan dari perspektif psikologi-pneumatologi dan di dalam ratapan Roh Kudus mentransformasi hidup orang beriman. Ratapan dapat membawa kepada sikap percaya kepada Allah yang semakin mendalam dan berani melanjutkan kehidupan kembali atau istilahnya secara psikologi memiliki “restoration-oriented.” Kata-kata kunci: Roh/Roh Kudus, ratapan, psikologi, pneumatologi, transformasi.

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7

Swiss, T. "Lament." Literary Imagination 17, no. 1 (October 11, 2011): 54. http://dx.doi.org/10.1093/litimag/imr100.

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8

Cunningham, C. "Lament." Literary Imagination 14, no. 1 (November 10, 2011): 87. http://dx.doi.org/10.1093/litimag/imr115.

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9

Siegel, Joan I. "Lament." JAMA: The Journal of the American Medical Association 269, no. 3 (January 20, 1993): 341. http://dx.doi.org/10.1001/jama.1993.03500030037015.

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10

Lick, Renee C. "Lament." Journal of Christian Nursing 29, no. 3 (2012): 158–63. http://dx.doi.org/10.1097/cnj.0b013e31825824bd.

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11

Thorner, Alice. "Lament." Monthly Review 39, no. 7 (December 5, 1987): 56. http://dx.doi.org/10.14452/mr-039-07-1987-11_5.

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12

Dungy, Camille. "Lament." Missouri Review 24, no. 3 (2001): 137. http://dx.doi.org/10.1353/mis.2001.0128.

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13

Koestenbaum, Wayne. "Lament." Antioch Review 56, no. 4 (1998): 460. http://dx.doi.org/10.2307/4613744.

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14

Oras, Janika, Žanna Pärtlas, Mari Sarv, and Andreas Kalkun. "The Metrics of Seto Choral Laments in the Context of Runosong Metrics." Studia Metrica et Poetica 8, no. 1 (October 14, 2021): 40–98. http://dx.doi.org/10.12697/smp.2021.8.1.02.

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The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm. The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.

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15

Oras, Janika, Žanna Pärtlas, Mari Sarv, and Andreas Kalkun. "The Metrics of Seto Choral Laments in the Context of Runosong Metrics." Studia Metrica et Poetica 8, no. 1 (October 14, 2021): 40–98. http://dx.doi.org/10.12697/smp.2021.8.1.02.

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The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm. The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.

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16

Bogucki, Marcin. "Nimfa, Ariadna, Licori. Kształtowanie kobiecej tożsamości w dziełach Claudia Monteverdiego." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 69–84. http://dx.doi.org/10.14746/rfn.2019.20.6.

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This article analyses the way of setting lament and the theme of madness to music in the first half of the seventeenth century, on the example of the works of Claudio Monteverdi. At that time the way of expressing states on the verge of madness was the lament as a distinctive musical form in the course of the composition. The discussion takes as its point of departure one of the most famous examples of lament from early seventeenth century, Claudio Monteverdi’s The Nymph’s Lament – an emotional outburst by the eponymous heroine, held within bounds by a chorus of male voices. The work is analysed in its musical aspect as well as in the context of the “video clip” advertising Anna Prohaska’s album Enchanted Forest. An example of a lament by Monteverdi using other musical techniques is the monologue from the opera Arianna by its heroine, which became the model for later laments. Symbolically it presents a woman’s unsuccessful struggle for her right to individuality and the cultural role of arranged marriage. Its shape is influenced by the commedia dell’arte tradition. The first opera directly concerned with the theme of madness is Monteverdi’s La finta pazza Licori. Also in this case inspiration came from commedia dell’arte. Even though this work was not completed, the available versions allow us to reconstruct the composer’s intentions and to show how the theme of madness came to make its appearance on operatic stages.

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17

Harrán, Don. "A Jewish Female Cannibal in Two Seventeenth-Century Cantatas." Journal of Musicology 31, no. 4 (2014): 431–70. http://dx.doi.org/10.1525/jm.2014.31.4.431.

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Laments were frequent in both cantatas and operas in the seventeenth century. The two emotions expressed in the lament were those that Aristotle connected with the essence of tragedy, namely, pity (on the fate of the one who laments) and fear (lest the observer share the same fate). Fear turns to fright in two mid-seventeenth century cantatas, in which a Jewish mother cooks her son, eats his flesh, and licks his blood in order to relieve her hunger, then bemoans her act in a lament. The present study describes examples of laments and female cannibals in Scriptures, identifies the particular female cannibal of the cantatas as Mary of Eleazar in Flavius Josephus’s The Jewish War, discusses the authors of the text and the composers of the cantatas, concluding with the relationship of the texts to the music. Following Aristotle’s notions of pity and fear, authors and composers maneuver between the contrary feelings of pathos and disgust in the cantatas. The full text of both cantatas appears in the appendix.

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18

White, James J., and Phoebe. "Phoebe's Lament." Michigan Law Review 98, no. 8 (August 2000): 2773. http://dx.doi.org/10.2307/1290367.

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19

GOEDICKE, H. "'Menna's Lament'." Revue d'Égyptologie 38 (January 1, 1987): 63–80. http://dx.doi.org/10.2143/re.38.0.2011633.

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20

de Béarn, Gaston. "Freddy's Lament." Baffler 4 (March 1993): 56. http://dx.doi.org/10.1162/bflr.1993.4.56.

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21

Chakera, Turab, and Makhan S. Khangure. "Radiologists’ lament." Medical Journal of Australia 189, no. 11-12 (December 2008): 628. http://dx.doi.org/10.5694/j.1326-5377.2008.tb02218.x.

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22

Slaght, Jonathan C. "Arsen’ev’s Lament." Sibirica 19, no. 3 (December 1, 2020): 79–89. http://dx.doi.org/10.3167/sib.2020.190306.

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In 1900, Vladimir Arsen’ev arrived in a remote corner of the Russian Empire on the cusp of significant change. Forests in the Ussuri Kray (now Primorskiy Kray, or Primorye) were wild, wildlife was abundant, and the human population was low. Twenty-one years later, after witnessing a sustained influx of settlers and a reduction of wildlife, in his introduction to Across the Ussuri Kray [Po Ussuriiskomy kraiu], a travelogue about his experiences in the region, Arsen’ev mourned the passing of this unique time and place. This article outlines Arsen’ev’s contributions to our understanding of Primorye’s wildlife in the early twentieth century, describes what led to the reductions in wildlife he witnessed and offers a summary of how wildlife and wilderness look in the region today.

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23

Kichler, Ken. "Auditors Lament." Critical Perspectives on Accounting 6, no. 5 (October 1995): 432. http://dx.doi.org/10.1006/cpac.1995.1041.

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24

Taylor, Julie. "Desdemona's Lament." TDR/The Drama Review 45, no. 4 (December 2001): 106–24. http://dx.doi.org/10.1162/105420401772990351.

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How can Argentine women, after imprisonment and torture, reconstruct what happened to them, represent their experiences, and understand how doing theatre in prison helped them? Men exprisoners acknowledge that women have advanced further in developing strategies that move beyond the hierarchical and authoritarian activism of the Leftist resistance.

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25

Davis, J. Mostyn. "Vendor's lament." Postgraduate Medicine 77, no. 3 (February 15, 1985): 22–23. http://dx.doi.org/10.1080/00325481.1985.11698885.

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26

Miller, Nancy Anne. "“Walcott’s Lament”." Caribbean Quarterly 66, no. 1 (January 2, 2020): 130. http://dx.doi.org/10.1080/00086495.2020.1722380.

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27

Tyler, Meg. "Before Lament." Literary Imagination 19, no. 2 (July 2017): 178. http://dx.doi.org/10.1093/litimag/imx030.

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28

Vincie, Catherine, Sue Mielke, and Celeste De Schryuer Mueller. "Birthing Lament." Liturgy 14, no. 1 (March 1997): 1–12. http://dx.doi.org/10.1080/0458063x.1997.10392383.

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29

BLUNT, Robert W. "Kenyatta's lament." HAU: Journal of Ethnographic Theory 3, no. 3 (December 2013): 167–93. http://dx.doi.org/10.14318/hau3.3.008.

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30

O'SULLIVAN, MAGGIE. "Hannah's lament." Critical Quarterly 34, no. 4 (December 1992): 95. http://dx.doi.org/10.1111/j.1467-8705.1992.tb00452.x.

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31

Patti, Chris J. "Hopeful Lament." Departures in Critical Qualitative Research 4, no. 1 (2015): 127–30. http://dx.doi.org/10.1525/dcqr.2015.4.1.127.

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A personal reading of Robin M. Boylorn's rich, troubling, critical, and beautifully composed text Sweetwater inspired the author to respond in the poetic form of the blues. Mixing major (hopeful) and minor (heartbreaking) themes and written as a lament, the author confronts the sorrow of marginalization and praises the brave and hopeful power of Boylorn's writing, which speaks in personal, familial, and cultural registers about the oppression and resilience of Southern black women. This song resolves by highlighting the philosophical and theoretical possibilities made possible by the critical auto/ethnographic storytelling exemplified in Sweetwater.

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32

van Schaik, Pamela. "Lover's Lament." English Academy Review 31, no. 2 (July 3, 2014): 203. http://dx.doi.org/10.1080/10131752.2014.965433.

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33

Smith, Dean R. "Lot's Lament." English Journal 95, no. 4 (March 1, 2006): 113. http://dx.doi.org/10.2307/30047106.

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34

Brothers, Doris. "Lily’s Lament." Psychoanalysis, Self and Context 13, no. 1 (December 6, 2017): 13–16. http://dx.doi.org/10.1080/24720038.2018.1388063.

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35

Reichenfeld, H. F. "Eastwood's Lament." Canadian Journal of Psychiatry 40, no. 1 (February 1995): 46. http://dx.doi.org/10.1177/070674379504000111.

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36

Gossage, James R. "Lytic lament." American Journal of Cardiology 72, no. 11 (October 1993): 863. http://dx.doi.org/10.1016/0002-9149(93)91091-u.

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37

Sweet, Denise. "Lightwoman's Lament." Cream City Review 42, no. 1 (2018): 10–11. http://dx.doi.org/10.1353/ccr.2018.0001.

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38

Malnack, Linda. "Magdalene's Lament." Christianity & Literature 50, no. 2 (March 2001): 246. http://dx.doi.org/10.1177/014833310105000205.

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39

Woolfitt, William Kelley. "Sparrow Lament." Christianity & Literature 59, no. 2 (March 2010): 319. http://dx.doi.org/10.1177/014833311005900214.

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40

Doering, Milan F. "Traditionalist's lament." Contemporary Psychology: A Journal of Reviews 41, no. 4 (April 1996): 398. http://dx.doi.org/10.1037/005070.

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41

Gilman, John. "Library Lament." Materials Technology 12, no. 3-4 (January 1997): 112–13. http://dx.doi.org/10.1080/10667857.1997.11752740.

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42

Joseph, Richard A. "Laureate's lament." Journal of Democracy 8, no. 1 (1997): 167–73. http://dx.doi.org/10.1353/jod.1997.0002.

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43

Herron, Elizabeth Carothers. "Psyche's Lament." Psychological Perspectives 58, no. 4 (October 2, 2015): 493–94. http://dx.doi.org/10.1080/00332925.2015.1092816.

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44

Mecouch, George. "Jung's Lament." Psychological Perspectives 59, no. 3 (July 2, 2016): 376–90. http://dx.doi.org/10.1080/00332925.2016.1202686.

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45

Harvey, Stephen T., and Carol Wiley Cassella. "Anesthesiologist's Lament." Anesthesiology 115, no. 2 (August 1, 2011): 432. http://dx.doi.org/10.1097/aln.0b013e31820b8b5d.

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46

Mándi, Yvette. "Hungarian lament …" Immunology Today 13, no. 10 (January 1992): 421. http://dx.doi.org/10.1016/0167-5699(92)90096-p.

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47

Richardson, Clara. "Accountant's Lament." Critical Perspectives on Accounting 9, no. 6 (December 1998): 640. http://dx.doi.org/10.1006/cpac.1998.0318.

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48

Gordon, Bonnie. "Talking back: the female voice in Il ballo delle ingrate." Cambridge Opera Journal 11, no. 1 (March 1999): 1–30. http://dx.doi.org/10.1017/s0954586700005504.

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Suzanne Cusick has recently argued that the musical processes of Monteverdi's Lamento d'Arianna purge Ariadne of passion and desire in order symbolically to make her a good wife. Written for the 1608 marriage of Francesco Gonzaga to Margherita de Savoy, the lament, according to Cusick, reflects Renaissance marriage and gender ideologies that were determined to silence women and put them in their place. Ariadne has dared to choose her own mate and therefore must suffer. Her fate is dramatised by her uncharacteristically long lament, which enacts the transformation women experienced as they gave up their own desires to the constraining institution of marriage. Cusick's argument is in line with recent critical tendencies to read early modern culture in terms of the opposition between passive female silence and active male desire.

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49

Qutbuddin, Tahera. "Karbala Mourning among the Fāṭimid-Ṭayyibī Shīʿa of India: Doctrinal and Performative Aspects of Sayyidnā Ṭāhir Sayf al-Dīn’s Arabic Marthiya, “O King of Martyrs” (Yā Sayyida l-Shuhadāʾī)." Shii Studies Review 5, no. 1-2 (July 30, 2021): 3–46. http://dx.doi.org/10.1163/24682470-12340064.

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Abstract The Sayyid al-Shuhadāʾ lament—a poignant fifty-one-stanza Arabic marthiya composed by the Ṭayyibī Dāʿī l-Muṭlaq Sayyidnā Ṭāhir Sayf al-Dīn (d. 1385/1965)—holds an iconic status in the Karbala tradition of the Fāṭimid-Ṭayyibī Shīʿa of India. This article transcribes, translates, and analyses the lament to showcase a distinct religious tradition within a hybrid cultural milieu. The lament’s forms intersect with Arabic poetic conventions set in pre-Islamic times; its themes overlap with Twelver-Shīʿī Karbala laments in Arabic, Persian, and Urdu from the Middle East and South Asia; and its performance stems from melodic Persianate-Urdu recital. Simultaneously, it reflects the Fāṭimid-Ṭayyibī heritage, particularly the teachings of al-Muʾayyad al-Shīrāzī (d. 470/1078), including the fundamentals of their Imāmate doctrine and the salvific importance of weeping for Ḥusayn.

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50

Villanueva, Federico G. "From Thanksgiving to Lament: The Shape of Psalm 120." Vetus Testamentum 70, no. 3 (January 17, 2020): 479–97. http://dx.doi.org/10.1163/15685330-12341408.

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Abstract Psalm 120 does not follow the usual form-critical view of the lament. Instead of moving from lament to praise, this psalm begins with thanksgiving and ends with lament. To make sense of Psalm 120, some scholars emphasize the thanksgiving part (v. 1) while viewing the lament (vv. 2-7) as a past recollection of the situation before the thanksgiving. Others opt to highlight the lament, interpreting the thanksgiving as a recollection of a past answer to prayer. This paper demonstrates that Psalm 120 represents in miniature form what we find in Psalms 9/10 and Psalm 40 where the lament is preceded by thanksgiving. It argues that Psalm 120 is a literary composition in which the thanksgiving and lament are deliberately juxtaposed, and in this sequence, to express a sense of the tragic.

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