Bibliografias temáticas / Sacred songs

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Literatura científica selecionada sobre o tema "Sacred songs"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho de 2024

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Artigos de revistas sobre o assunto "Sacred songs"

Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853". Journal of the American Musicological Society 74, n.º 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.

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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.

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Moreira Vieira, Caroline, e Joana Bahia. "Yaô africano: the orixá in the voice of Patricio Teixeira". Religiones y religiosidades en América Latina, n.º 26 (31 de dezembro de 2020): 39–62. http://dx.doi.org/10.36551/2081-1160.2020.26.39-62.

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Patricio Teixeira was an important voice in Brazilian music, particularly during the 1920s and 1930s. His career in radio broadcasting extended into the mid-1950s. Teixeira’s work gave visibility to black subjects and their cultural identities. This article analyzes the sacred elements that overflow into the musical and recreational universe of Rio through some of the songs recorded by Teixeira. With varied appropriations, these recordings of chants for orixá, Afro-Brazilian practices, and rituals mark the presence of the Afro-Brazilian sacred in Brazilian popular song.

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Ivanytskyi, Anatolii. "Sacred Foundations of Folk Song Art". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, n.º 1 (6 de junho de 2022): 14–23. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258134.

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The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.

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Robert, Jörg, e Moritz Strohschneider. "Spracharbeit und interkonfessionelle Liedtradition". Artes 2, n.º 2 (18 de setembro de 2023): 299–342. http://dx.doi.org/10.30965/27727629-20230013.

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Abstract This article deals with the numerous psalm songs that Martin Opitz composed between 1626 and 1638 to melodies from the Geneva Psalter. It discusses them in the context of the great tradition of Protestant psalm songs which had flourished since the Reformation and considers their role for Opitz’s poetics and linguistic reflection (‘Spracharbeit’). In the first part, the essay presents Opitz’s translation work on the Psalter showing that the poet wanted to create a normative example of German-language sacred poetry. We then reconstruct Opitz’s poetics on the basis of his songs on Psalm 6, linking it to the European tradition of the psalm song as well as to theological and dogmatic issues.

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MONGE, LUIGI. "Their eyes were watching God: African-American topical songs on the 1928 Florida hurricanes and floods". Popular Music 26, n.º 1 (janeiro de 2006): 129–40. http://dx.doi.org/10.1017/s0261143007001171.

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This study focuses on the five known African-American topical songs dealing with the two hurricanes and ensuing floods that took place in Florida in the summer of 1928. The first is a commercially recorded blues song and the others are unreleased Library of Congress sacred recordings, which are transcribed and analysed here for the first time.

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Kroeger, Karl, e Eve R. Meyer. "Benjamin Carr. Selected Secular and Sacred Songs". Notes 45, n.º 1 (setembro de 1988): 149. http://dx.doi.org/10.2307/941407.

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Clark, J. Bunker, e Eve R. Meyer. "Benjamin Carr: Selected Secular and Sacred Songs". American Music 6, n.º 4 (1988): 460. http://dx.doi.org/10.2307/3051703.

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Sánchez Gutiérrez, Adriana. "Cantos sagrados y voces colectivas descoloniales desde la voz de Elvira Espejo Ayca. Kirki Qhañi. Petaca de las poéticas andinas (2022)". Bolivian Studies Journal 28 (2 de dezembro de 2022): 19–33. http://dx.doi.org/10.5195/bsj.2022.279.

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This article-interview with the poet Elvira Espejo Ayca discusses the process of recovering the sacred songs of the Aymara and Quechua indigenous communities through the oral tradition from her grandmother Gregoria Mamani and her great-great-grandmother Martina Pumala. The song-poems preserve Inca meanings and aesthetics that the indigenous people used during Colonization to maintain good relations with the Spanish domain and, in turn, mask those referring to the Inca deities. Some songs have been taken up to unravel the lyrical resources of colonial times and recreate the original songs of the ancestors with the community of Kurmi Wasi School in Bolivia, a musical production that was recorded under the name of Sami Kirki in 2018, which was included in the last Espejo’s book Kirki Qhañi (2022).

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Ramsten, Märta. "En muntlig sångkultur kopplad till skrift". Puls - musik- och dansetnologisk tidskrift 9 (22 de maio de 2024): 10–26. http://dx.doi.org/10.62779/puls.9.2024.23731.

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An oral song culture connected to printed worksThe aim of this article is to investigate the process of diachronic transmission with reference to oral material. Departing from field recordings from the very north of Sweden this article intends to account for the transmitting of oral song traditions connected with two pious song books, Sions sånger/Sion’s Songs and Sions nya sånger/Sion’s New Songs from the 18th century. The song books were published in numerous editions up until 1975 and foremost used by religious dissenters. Only song texts were provided in the books – as for melodies the congregation had to deal with directions to contemporary melodies, mostly hymns. The recordings indicate that several both sacred and profane melodies used during the 18th century may have followed the songs for more than 200 years in oral tradition. The restricted life within the congregations is a prerequisite for this process which goes on within the collective. In the present investigation the contradictory words acceptance and avoidance/repudiation are used to make clear what elements are active as both controlling and cooperative in the dynamic transmitting process.

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Sopacoly, Mick Mordekhai. "Merayakan Cinta Berdasarkan Kidung Agung 1:9-17". DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 4, n.º 2 (13 de abril de 2020): 234–53. http://dx.doi.org/10.30648/dun.v4i2.290.

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Abstract. At a glance reading the Song of Songs gives the impression as a book that displays mere sensuality. Therefore raising the question why the Song of Songs was included in the canonization of the Bible which is the Word of God. This paper aimed to explore the meaning of the great love found in the Song of Songs text that seems vulgar and sensual. The method used in this study was a historical criticism of the Song of Songs 1: 9-17. Through this study, it could be concluded that the love texts in Song of Songs display the power of love that is unique, creative, and contains a sacred dimension, which not only focuses on the physic, but also in the emotional aspects, conscience, and inner bonds, as a form of celebration of God's grace.Abstrak. Membaca kitab Kidung Agung sekilas memberikan kesan sebagai kitab yang menampilkan sensualitas semata. Hal itu tentunya menggugah pertanyaan mengapa Kidung Agung masuk dalam kanonisasi Alkitab yang adalah merupakan Firman Tuhan. Tulisan ini bertujuan untuk menggali makna cinta yang agung di balik tulisan dalam kitab Kidung Agung yang terkesan vulgar dan sensual. Metode yang digunakan dalam kajian ini adalah metode kritik historis terhadap teks Kidung Agung 1:9-17. Melalui kajian tersebut dapat disimpulkan bahwa teks-teks cinta dalam Kidung Agung menampilkan kekuatan cinta yang unik, kreatif, dan mengandung dimensi kesakralan, yang tidak hanya berfokus kepada fisik, tetapi juga dalam aspek emosional, nurani, dan ikatan batin, sebagai bentuk perayaan atas anugerah Allah.

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Teses / dissertações sobre o assunto "Sacred songs"

Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf". Kansas State University, 2012. http://hdl.handle.net/2097/13747.

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Master of Music
Department of Music
Amy Rosine
This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.

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Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /". Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.

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Holland, Amanda L. "Wandayarra a-yabala = Following the road : searching for indigenous perspectives of sacred song /". St Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17854.pdf.

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Nguyễn, Xuân-Thaʼo Joseph. "Music ministry the inculturation of liturgical vocal music in Vietnam /". Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p033-0807.

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Forbes, Anne-Marie H., e Johann Sebastian 1685-1750 Vergnügte Ruh beliebte Seelenlust Vergnügte Ruh beliebte Seelenlust Bach. "A master's recital and analytical programme notes". Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9839.

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Title from accompanying document.
A.M. Forbes, soprano ; J. Anschutz, piano, organ ; K. Irwin, oboe ; D. Bakke, T. McClure, violins ; E. Takehana, viola ; V. Pugh, violoncello ; J. Langenkamp, tenor ; S. Rushing, narrator.
Digitized by Kansas Correctional Industries

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Jeffreys, Catherine Mary. "Melodia et rhetorica : the devotional-song repertory of Hildegard of Bingen /". Connect to thesis, 2000. http://eprints.unimelb.edu.au/archive/00000422.

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Reagan, Mark C. "John Cosyn's Musike in six and fiue partes newly notated and completed". Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/m_reagan_1030410.pdf.

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Monroe, Deborah Jean. "Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble /". connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).

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Ramsey, Michael W. Shakespeare William Shakespeare William Shakespeare William Mobberley James. "In praise of fathers three pictures from Shakespeare /". Diss., UMK access, 2008.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
A three movement work for orchestra and bass-baritone soloist using texts from three Shakespeare plays: Hamlet, Titus Andronicus and King Lear. "A dissertation in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Aug. 07, 2009. Online version of the print edition.

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Eglite, Sarma A. "The sacred songs of the followers of the lamb an examination of Latvian Brudergemeine hymns from 1739 /". Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Livros sobre o assunto "Sacred songs"

1930-, Subramanian V. K., ed. Sacred songs of India. New Delhi: Abhinav Publications, 1996.

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Topping, Eva C. Sacred songs: Studies in Byzantine hymnography. Minneapolis, Minn: Light and Life Pub., 1997.

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Fallows, David. A catalogue of polyphonic songs, 1415-1480. Oxford: Oxford University Press, 1999.

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Price, Florence. Two songs. San Antonio, Tex: Southern Music Co., 1994.

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ill, Pfeiffer Judith, e Delman Elliott, eds. Bible songs. Lincolnwood, Ill: Publications International, 2003.

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1838-1876, Bliss P. P., e Sankey Ira D. 1840-1908, eds. Gospel hymns and sacred songs, words only. Toronto: Copp, Clark, 1986.

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1840-1908, Sankey Ira D., ed. Sacred songs and solos: Twelve hundred hymns. London: Marshall Pickering, 1998.

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Brumley, Albert E. Albert E. Brumley's book of sacred songs. Whitefish, MT: Kessinger Pub., 2009.

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Jenkins, Karl. Sacred Songs. Leonard Corporation, Hal, 2009.

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cottle, ernest. Sacred Songs. Lulu Press, Inc., 2008.

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Capítulos de livros sobre o assunto "Sacred songs"

"Sacred Songs". In The Singing Bourgeois, 103–19. Routledge, 2017. http://dx.doi.org/10.4324/9781315085258-5.

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Thomas, Adrian. "SACRED SONGS". In Gorecki, 69–100. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198163930.003.0005.

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Abstract THE 1960s were years of maturation for many Polish composers, as their individual styles and outlooks crystallized. Lutostawski and Penderecki were seen abroad as the symbols of the Polish avant-garde, of the so-called ‘Polish school’. This tag held a grain of truth, but like most labels it undervalued diversity in trying to quantify a new phe¬nomenon: the emergence of vital new music from an unexpected source. The Poles were challenging the domination of composers of other nationalities, many of whom were perceived in the West as holding the key to the future of music. As unexpected newcomers, Polish composers had played briefly in the late 1950s and early 1960s with new idioms and technical ploys from the West before discarding or dismantling them as they sought their own path.

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Nissinen, Martti. "Song of Songs and Sacred Marriage". In Sacred Marriages, 173–218. Penn State University Press, 2008. http://dx.doi.org/10.5325/j.ctv1bxgzv8.10.

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"Front Matter". In Sacred Songs, i—ii. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.1.

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"LSS VII". In Sacred Songs, 7. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.10.

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"Back Matter". In Sacred Songs, 97. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.100.

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"LSS VIII". In Sacred Songs, 8. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.11.

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"LSS IX". In Sacred Songs, 9. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.12.

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"LSS X". In Sacred Songs, 10. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.13.

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"LSS XI". In Sacred Songs, 11. Langaa RPCIG, 2019. http://dx.doi.org/10.2307/j.ctvx0781h.14.

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Trabalhos de conferências sobre o assunto "Sacred songs"

Butnaru, Tatiana. "An Archetypal Symbol of Immortality". In Conferinta stiintifica nationala "Lecturi în memoriam acad. Silviu Berejan", Ediția 6. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/lecturi.2023.06.22.

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In the present article - the archetypal meaning of the bird - cuckoo, a folkloric topos of wide distribution in the novelistic epic, with obvious sacred meanings and springs of maximum inner concentration, found expression. The image of the bird - cuckoo is present in several folklore texts, lyrical songs, ballad subjects, being placed in the context of ritual situations, with openness to new ontological dimensions, it expresses different postures of the human spirit, with an orientation towards a dramatic contemplation of human joints, of vital life problems. The cuckoo bird participates in the soul drama of the epic heroes, appearing as a messenger of deep feelings, feelings, inner turmoil and carries a symbolic and functional meaning at the same time, it is meant to deepen a vast spiritual universe, to express some springs fundamentals of human existence.

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Galaicu, Violina. "Th e autochthonous element in Byzantine pew singing from the Romanian area in the XVI - XVII centuries". In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.16.

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A fi rst and precious Romanian contribution to the Byzantine musical heritage of the designated period is contained in the codices from medieval Putna (most of them date from the XVI century). Th e psalters of Putna, led by Evstatie Protopsaltu, developed, through joint eff ort, a special melodic style, recognizable in the landscape of Eastern European Byzantine sound art. Th e songs written or transcribed in Putna (with texts in Greek and Slavonic) stand out for their melismatic luxuriance, the variety of rhythmic structures, the improvisational momentum in the melodic proliferation. Even if it does not bring into the equation phenomena of the scope of the Musical School of Putna, the XVII century makes the decisive turning point towards the Romanization of religious singing of the Byzantine tradition. Among the catalyzing circumstances of the process are: the reforming current coming from the West through Transylvania, the grounding of printing in the Romanian countries, the crystallization of the Romanian literary language, the act of uniting with Rome of a part of Transylvanian Romanians. Th e socio-cultural and identity ferment of the XVI – XVII centuries prepared the spiritual eff ervescence of the Brancovean era and the launch of the fi rst collection of sacred chants with Romanian text - the Romanian Psalticha by Filotei sin Agăi Jipei.

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Jasim MOHAMMED, Ahmed, e Hussein Ismael KADHIM. "THE IMPACT OF THE JEWISH FAITH IN MODERN HEBREW POETRY "SHABBAT FOR EXAMPLE". In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-14.

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This study is an attempt to shed light on a central and important issue in the lives of any nation or society or group of people, and it is the issue of "faith". One of the most important foundations in the Jewish faith is the "Sabbath" or day of rest for the Jews, which they respect and sanctify from all the other six days of the week. This study discusses the different representations of Saturday in Hebrew poetry. This study examined different representations of the theme of Saturday in Hebrew poetry with special emphasis on the significance of these representations shaped their worldview of the Jews on the topic flowing. Saturday is a day of rest and weekly holy people of Israel, the first deadline dates prescribed in the Torah. When there was a regular basis every seven days, on the seventh day a week. Saturday is the start of Friday's end, a little before sunset - the time called "Saturday Night", and tip the next day, with nightfall - long known as "Saturday". Jewish Saturday is considered the most sacred date. Saturday observance is one of the central commandments in Judaism; According to Judaism, this is the first commandment given to man, on the day he removed and weighed against all the commandments of the Torah. Judaism Saturday symbolizes the creation of the world by God and the holiness constant since the world was created by God. Reasons for the mitzvot and customs specific biblical command to sit origin consecrate this day and strike him from work, God's act of creation after the completion of the six days of creation. Saturday is used only for rest and refraining from doing work, and has been caught during today's Bible Holiness, pleasure, study Torah and elation. Observance of the Saturday, according to Judaism, is a practical admission creation of the world, reinforces the belief and non-observance leads to weakening of the Jewish faith, as well as keeping the Saturday brings a person to the Creator and secrete more physical nuns. Israel was set Saturday to officially rest. Sanctity of "on Saturday" is based - according to tradition - the thinking that thought that the God who created the heavens and the earth in six days, and Ahri-cc, he rested on the seventh day his work which he worked it, and he ordered them to stop all this day according craft books mentioned several books of the Bible. At the beginning of this study will be discussed at the origin of the word "Sabbath" (Saturday) in the Hebrew language, and the meaning of the word "Sabbath" in the Bible, Then, will be discussed on the types Saturday among the Jews, except they have a regular Sabbath day three ten types of Saturdays, expressing the various events and occasions and have various rituals and special customs. Too, will be discussed on the customs and rituals that the Jews do them during the entry to his departure on Saturday. Even so, it is during this study for some changes in different terms to Saturday, which the Jews call them the Sabbath. These names were used most by the Hebrew writers in modern times in their songs and stories that written in honor of this day, and Hebrew poets wrote poetry on Saturday: Bialik wrote the song "Saturday queen", poet Amir Gilboa wrote the song "Cch Cmo Sani the up" and others. By analysis of these literary works can be seen that the authors of these works depict through which all customs and ceremonies on Saturday in detail from beginning to end, especially the poet Bialik's poem "Saturday queen". And the end of the study conclusions and sources will come

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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones". In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.

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Minnullina, Fatyma. "THE GREAT PATRIOTIC WAR IN THE TATAR DRAMA OF THE 1940S-1950S". In FIRST KULAKOV READINGS: ON THE FIELDS OF RUSSIA'S MILITARY. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3640.khmelita-19/194-201.

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The article examines Tatar plays written in the 1940s-1950s of the XX century. The defense of the Motherland from enemies activated the sound of the patriotic spirit in Tatar drama. Playwrights, referring to the events of the war in their plays, praise the courage, patriotism of fighters, home front workers. The paper identifies the main themes, conflict situations, revealing the characters of the characters. The object of the study were the plays “Shakir Shigaev” by F. Karim, “Sacred Commission” by T. Gizzat, “Maryam” by N. Isanbet, “Minnikamal”, “Return” by R. Ishmurat, etc. After the Great Patriotic War, writers continued to develop the theme of heroism of people at the front and in the rear. The main purpose of the plays in these years was to summarize the events of the war, to show the sources of victory. The depiction of the war, the heroism of the Soviet man at the front, the disclosure of the moral and political sources of the victory won by the Soviet people over fascism, were devoted to the plays of T. Gizzat “True Love” (1948), M. Amir “Song of Life” (1946) R. Ishmurat “Immortal”.

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Radisavljević, Dejan S. "KRALj MILUTIN I NjEGOVO DOBA U ISTORIJI, ARHEOLOGIJI I NARODNOJ TRADICIJI KRUŠEVAČKOG KRAJA". In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.177r.

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In this paper, through a multidisciplinary approach and analysis of available written material and material remains, we tried to shed light on the period of King Milutin's rule in the Kruševac area, laying the foundations for some future comprehensive research. According to the Žitije kralja Milutina (1324) by Archbishop Danilo II, this Serbian ruler stayed in the Kruševac area during a meeting with his brother King Dragutin in Mačkovac in the župa of Rasina, before the decisive attack on the state of Drman and Kudelin, most likely in the first half of 1292. Mačkovac can be reliably identified with today's village of the same name, about 8 km west of Kruševac. Based on the favorable geographical position not far from the crossroads of important medieval roads, it can be assumed that this settlement, before the rise of Kruševac in the second half of the 14th century, most likely enjoyed the status of a trg (mercatum, marketplace). At this time, the župa of Rasina was organized as a separate država (lord state) within Milutin's kingdom. Archaeological finds from the last decades of the 13th and the first decades of the 14th century are scarce, and we could talk only about two specimens of silver coins of King Milutin, accidentally found in the area of the villages of Laćisled and Mačkovac. The specimen from Laćisled, which was in secondary use as part of the jewelry, belongs to type 3.1, i.e. the dinar with the flag - de bandera, minted in Brskovo between 1282 and around 1310. The most significant written testimonies from the period of King Milutin's reign are two tombstone inscriptions. The first was carved on a massive river pebble, which today lies on the property of the Gajić family in the village of Zdravinje near Kruševac. It was performed in the Cyrillic alphabet in the Old Serbian language. He testified about the death of Marija Bogoslava (Bogoslav's wife), who died on June 8, 1292. In addition to Marija, the inscription also mentions her three sons, Radoslav, Radič and Vladel (Vladelj). This aristocratic family bore the family name or surname Poljak, from which the toponym Poljaci was derived, i.e. the name of their ancestral village in the neighborhood of Zdravinje. The second tombstone, discovered in 1967, was installed as an spolia in the bell tower of the church of St. Stephen in Kruševac (1377–1378). An inscription engraved on it speaks of the death of Vlkota, Medoš's son, who died between September 1, 1300 and August 31, 1301. It is characterized by East Slavic linguistic features, a consistent distinction between soft and hard semivowel (rabþ, vþ, sŠÿ1nþ, Vlýkota), as well as the use of the form oumér{iŠhþ1, in which é is used as a substitute for soft semivowel ý, which is attested in the tombstone inscription of the noblewoman Stanislava from the village of Gradec near Vidin (14th century), as well as in the fresco inscription between the figures of two deceased lords on the southern part of the western wall of the nave in the church of St. Nicholas in Staničenje near Pirot (1331–1332). Folk tradition links King Milutin to the origin of the toponym Milutovac near Trstenik, which is derived from the anthroponym Milutin, most probably according to the name of the lord or nobleman who owned this village during the late Middle Ages. According to local legend, King Milutin, as the greatest endower of Nemanjić family, was also the founder of the church of St. John the Baptist in Orašje near Varvarin. The original appearance and oldest past of this church, due to the absence of archaeological research and conservation research, as well as the lack of written sources, are not known to us. The existence of a medieval necropolis around its walls, dated on the basis of the appearance of tombstones in 14th and 15th century, and the mention of the priest Jovan in the Ottoman defter from 1476 indirectly indicate that this modest single-nave sacral building could have been erected as an endowment of some local lord during the period of Serbian independence before 1459, and could not be directly related to King Milutin. We hope that this article will draw the attention of the scientific public to the necessity of further multidisciplinary research of the medieval past of the Kruševac region, including the reign of King Stefan Uroš II Milutin, as one of the most famous Serbian medieval rulers.

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