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Journal articles on the topic 'A christmas carol'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Луцюк, Марія. "Диглосія вірувань у гуцульській колядковій традиції." Studia Ucrainica Varsoviensia 7 (November 27, 2019): 85–95. http://dx.doi.org/10.5604/01.3001.0013.6014.

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In the article the problem of diglossia in the Christmas carol of Hutsuls based on the interaction of Christian and heathen elements is discussed. The sources of the study are the texts of the Christmas carol which were recorded in the village of Kryvorivnia (Verkhovyna district, Ivano-Frankivsk region). These texts are analyzed in a diachronic section: the phenomena of Christianization and dual-faith and their implementation in the Christmas carol tradition of Hutsuls are considered. Based on the content and formal analysis of the text of the Christmas carol, the main motifs and images are singled out. It is emphasized that in these motifs and images of diglossia features are realized. The article outlines the main ideological principles, embodied in Christmas carols, and analyzes the main thematic features of the calendar ritual folklore of a winter cycle. The diﬀ erentiation of terminology, content and formal features of church carols and carols was also conducted. Based on the results of the content analysis of the text content of the carolytic tradition, its main functions are determined. The conclusions state that the modern Christmas carol tradition of Hutsuls reveals a syncretic completion, which combines Christian and pagan elements, and diglossia features most often appear on the content level. Descriptive and comparative methods, as well as elements of discourse analysis, were used for the study.

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2

Even, Zef. "A Christmas Carol." European Employment Law Cases 3, no. 4 (December 2018): 1. http://dx.doi.org/10.5553/eelc/187791072018003004001.

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3

Jones, Dorothy E. "The Christmas Carol." Music Reference Services Quarterly 6, no. 4 (March 4, 1998): 147–52. http://dx.doi.org/10.1300/j116v06n04_27.

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4

Nazarene, Robert. "A Christmas Carol." Callaloo 22, no. 2 (1999): 430. http://dx.doi.org/10.1353/cal.1999.0090.

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Silva, Alyne, and Germana Henriques Pereira de Sousa. "A CHRISTMAS CAROL:." Belas Infiéis 1, no. 1 (September 20, 2012): 69–82. http://dx.doi.org/10.26512/belasinfieis.v1.n1.2012.11162.

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O objetivo deste artigo é propor uma breve análise da condensação do clássico do romancista inglês Charles Dickens A Christmas Carol feita pela escritora Cecília Meireles, intitulada Um Hino de Natal, com o intuito de identificar e justificar as escolhas da tradutora. Para a comparação, utilizaremos uma edição original e uma tradução integral intitulada Conto de Natal, de Jorge Vidal Pessoa.

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6

Worthington, P. "Another Christmas carol." BMJ 311, no. 7021 (December 23, 1995): 1702–4. http://dx.doi.org/10.1136/bmj.311.7021.1702.

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7

McGurk, Valerie. "A Nightingale Christmas Carol." Nursing Standard 32, no. 13 (November 22, 2017): 34. http://dx.doi.org/10.7748/ns.32.13.34.s28.

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8

Freeman, Paul B. "An optometric Christmas Carol." Optometry - Journal of the American Optometric Association 80, no. 12 (December 2009): 671–72. http://dx.doi.org/10.1016/j.optm.2009.10.002.

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9

Kendra Preston Leonard. "Louise Talma's Christmas Carol." Notes 66, no. 4 (2010): 739–44. http://dx.doi.org/10.1353/not.0.0339.

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Burleson, Donald R. "Dickens's a Christmas Carol." Explicator 50, no. 4 (July 1992): 211–12. http://dx.doi.org/10.1080/00144940.1992.9935321.

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11

B.B. Nimanuho, Maria Salvatrix. "THE ANALYSIS OF NON-LITERAL MEANING IN CHRISTMAS CAROL BY CHARLES DICKENS." JURNAL ILMIAH BAHASA DAN SASTRA 4, no. 2 (April 4, 2019): 104–15. http://dx.doi.org/10.21067/jibs.v4i2.3182.

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This study investigates non-literal meaning in ‘Christmas Carol’ story written by a famous British author, Charles Dickens. This study used a descriptive qualitative method. The data were taken or collected from words, phrases, and sentences on ‘Christmas Carol’ novella, without reducing, adding, or changing any parts from the original source. The data were analyzed to answer three research questions: (1) What types of non-literal meaning are found in Christmas Carol story? (2) What are the interpretations of those non-literal meanings found in Christmas Carol story? (3) What is the most dominant type of non-literal meaning found in Christmas Carol story? In order to avoid bias, validator triangulation was used. The study found 11 idiom, 14 Simile, 6 Hyperbole, 6 Alliteration, 5 Personification, 3 Anaphora, 3 Onomatopoeia, 2 Irony, 2 Synecdoche, 2 Sarcasm, 1 Metaphor, and 1 Litotes. Simile was the non-literal meaning’s type which was mostly used in the story, although the percentage was still less than 50%. These findings indirectly could help the readers to understand deeper the message or the story that the author wants to convey. It is suggested for future researchers to investigate the non-literal meaning of others literary works such as tale, folklore, fairy tale, short-story, fable, etc. and media such as movie, drama, speech script etc. It is because other type of non-literal meaning and different ways of using them could be found in these literary works and media. This study will improve our understanding about non-literal meaning. Keywords: Semantics, Non-Literal meaning, Christmas Carol, Novella, Charles Dickens

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12

Studwell, William E. "The Historiography of the Christmas Carol." Music Reference Services Quarterly 4, no. 2 (March 9, 1996): 21–28. http://dx.doi.org/10.1300/j116v04n02_03.

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13

Michael Hancher. "Grafting A Christmas Carol." SEL Studies in English Literature 1500-1900 48, no. 4 (2008): 813–27. http://dx.doi.org/10.1353/sel.0.0029.

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14

Chesterton, Frances. "A Lullaby Carol, a Christmas poem." Chesterton Review 43, no. 3 (2017): 402–3. http://dx.doi.org/10.5840/chesterton2017433/472.

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15

Paulis, Chris. "A Christmas Carol of Writing Instruction." Clearing House: A Journal of Educational Strategies, Issues and Ideas 65, no. 6 (August 1992): 353–57. http://dx.doi.org/10.1080/00098655.1992.10114246.

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16

Davies, S. "A memorable patient: A Christmas carol." BMJ 317, no. 7174 (December 19, 1998): 1732. http://dx.doi.org/10.1136/bmj.317.7174.1732.

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17

Chitwood, Brandon. "ETERNAL RETURNS: A CHRISTMAS CAROL'S GHOSTS OF REPETITION." Victorian Literature and Culture 43, no. 4 (July 7, 2015): 675–87. http://dx.doi.org/10.1017/s1060150315000200.

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In spite of the supernatural trappings of Charles Dickens's most famous work, A Christmas Carol, critics from G. K. Chesterton to Edmund Wilson have found its equally famous protagonist, Ebenezer Scrooge, to be a real character, more fleshed-out and compelling than many of the characters of Dickens's longer, presumably more “serious” novels. Much of the reaction to A Christmas Carol and its protean anti-hero can be summarized by Stephen Prickett's succinct appraisal in his seminal study, Victorian Fantasy: “The strength of A Christmas Carol lies quite simply in its psychological credibility” (54). Scrooge is a character we can believe in, a character that, as Margaret Atwood suggests, “remains fresh and vital. ‘Scrooge Lives!’ we might write on our T-shirts” (xiii).

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18

Studwell, William E. "The Christmas Carol as a Cultural Phenomenon." Music Reference Services Quarterly 6, no. 4 (March 4, 1998): 137–45. http://dx.doi.org/10.1300/j116v06n04_26.

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19

McClure, Charlotte S. "A Miner’s Christmas Carol by Sam Davis." Western American Literature 23, no. 2 (1988): 189. http://dx.doi.org/10.1353/wal.1988.0018.

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20

Bezkorovaynaya, Galina T., Luiza N. Gishkaeva, and Natalia T. Pakhsarian. "Semantics of festivities in “Christmas Carol” by Ch. Dickens." RUDN Journal of Studies in Literature and Journalism 25, no. 2 (December 15, 2020): 305–14. http://dx.doi.org/10.22363/2312-9220-2020-25-2-305-314.

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The article concerns the language units, forming the semantics of festivities in one of the most popular works by Charles Dickens - the great English writer of Victorian Era, namely A Christmas Carol (1843). This work has been the subject for a lot of research, the story however is not investigated within the framework of some allied sciences. An attempt to use linguistic, linguistic culture and literary criticism approaches has been made to analyze the story. The eleven theme groups were found and the linguistic units were picked up. Those units create the unique picture of Christmas festivities. The examples from the text are analyzed. Around one thousand language units describing Christmas are analyzed. The conclusion is made that the writer created the morally important, educating work. At the same time, he attracted attention to Christmas in Britain, criticizing the drawbacks of the society as well as in Victorian England. The palette of stylistic and language means is rich and wonderful.

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21

Taft, Joshua. "DISENCHANTED RELIGION AND SECULAR ENCHANTMENT INA CHRISTMAS CAROL." Victorian Literature and Culture 43, no. 4 (August 5, 2015): 659–73. http://dx.doi.org/10.1017/s1060150315000194.

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The Victorian agehas long been considered a time of disenchantment. Beginning with Max Weber's seminal “Science as a Vocation,” secularization theory has argued that belief within modernity is marked by “rationalization and intellectualization and, above all, by the ‘disenchantment of the world’” (155). In this account, modernization makes the “enchanted” world fall apart, changing it from a realm of “mysterious incalculable forces” into an empty space governed by nothing more than “technical means and calculations” (139). Religion, this narrative claims, inevitably fades away. It may attempt to survive disenchantment by downplaying its supernatural roots, but this rationalized religion nevertheless gives way to secularism. And although recent scholarship has challenged the assertion that the Victorian age simply marked the decline of faith, the disenchantment narrative remains a powerful one; even critics who dispute aspects of the theory acknowledge its force. Colin Jager'sThe Book of God, for instance, describes Weber's narrative of disenchantment as “a powerful account of the way in which science gradually demystifies the universe” (18), and George Levine'sDarwin Loves Youconcedes that Weber's work, whatever its flaws, survives because it was “fashioned so powerfully and convincingly” (xiv).

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22

Preston, Shale. "Existential Scrooge: A Kierkegaardian Reading ofA Christmas Carol." Literature Compass 9, no. 11 (November 2012): 743–51. http://dx.doi.org/10.1111/j.1741-4113.2012.00909.x.

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23

Andress, Kate. "Past, present and future: A semiotic analysis of Charles Dickens’s A Christmas Carol." Visual Inquiry 9, no. 3 (December 1, 2020): 113–21. http://dx.doi.org/10.1386/vi_00015_1.

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This article examines the concepts of past, present and future in Charles Dickens’s A Christmas Carol. The primary focus is a semiotic evaluation of the three spirits that visit Ebenezer Scrooge, the main protagonist of the story. Dickens’s narrative is juxtaposed with the illustrations by John Leech that accompanied the story in the original publication from 1843; the purpose of this is to demonstrate how the concepts within Dickens’s narrative are translated visually. While A Christmas Carol is nearly two centuries old, this article highlights the influence of Dickens’s narrative and Leech’s illustrations on the contemporary understandings of past, present and future.

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24

kaufman, cathy. "The Ideal Christmas Dinner." Gastronomica 4, no. 4 (2004): 17–24. http://dx.doi.org/10.1525/gfc.2004.4.4.17.

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Christmas dinner emerged for the first time as an important and distinctive meal in mid-nineteenth century America, fueled by changing attitudes towards the Christmas holiday, changing meal patterns, and the need to unify Americans after the Civil War and to assimilate waves of immigrants. Charles Dickens’ Christmas Carol provided an ideal template for meals centering on turkey and plum pudding, and that model has continued to inform many middle and working class tables. But by the end of the nineteenth century, cookery writers for the more affluent market began to disdain turkey at Christmas, and the uniform tapestry of Christmas foods began to unravel. Christmas dinner in twentieth-century America became more a statement of class than of national identity.

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25

Linton, Adrianne. "A Christmas Carol Revisited-Nursing's Past, Present, and Future." Journal of Gerontological Nursing 31, no. 12 (December 1, 2005): 3. http://dx.doi.org/10.3928/0098-9134-20051201-03.

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26

Thompson, Terry W. "The Belshazzar Allusion in Charles Dickens's A CHRISTMAS CAROL." Explicator 75, no. 4 (October 2, 2017): 268–70. http://dx.doi.org/10.1080/00144940.2017.1389683.

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27

Bradley, Paul, and Pamela Bradley. "A Christmas Carol (with apologies to Mr Charles Dickens)." Medical Education 35, no. 12 (December 2001): 1173–77. http://dx.doi.org/10.1046/j.1365-2923.2001.01080.x.

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28

Saint-Amour, Paul K. ""Christmas Yet To Come": Hospitality, Futurity, the Carol, and "The Dead"." Representations 98, no. 1 (2007): 93–117. http://dx.doi.org/10.1525/rep.2007.98.1.93.

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This essay reads Charles Dickens's A Christmas Carol and James Joyce's "The Dead" in light of their shared concerns with hospitality. By portraying Scrooge's ethical regeneration as both guest and host, the Carol renews the openness of a future in which one can still intervene for the good in others' lives. Partly through its echoes of Dickens's story, "The Dead" critically engages the ethics of limitless welcome in the context of colonial occupation; that engagement produces an ethical relation to a future political form the story both demands and awaits but declines to portray.

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29

Ferrari, Andrea, Stefano Signoroni, Matteo Silva, Paola Gaggiotti, Laura Veneroni, Chiara Magni, Michela Casanova, et al. "“Christmas Balls”: A Christmas Carol by the Adolescent Cancer Patients of the Milan Youth Project." Tumori Journal 103, no. 2 (March 2017): e9-e14. http://dx.doi.org/10.5301/tj.5000597.

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The Youth Project is a program developed at the Pediatric Oncology Unit at the Istituto Nazionale Tumori in Milan, dedicated to adolescents and young adults with cancer. Among its various goals, the Youth Project organizes structured creative activities with the support of professionals, with the objective of offering young people a new way to express their hopes and fears. This article describes a project centered around music: patients created a Christmas carol with the help of musicians and authors. The adolescents explained with their own words the meaning of the lyrics, telling the story of a Christmas spent in a cancer hospital ward.

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30

Jaffe, Audrey. "Spectacular Sympathy: Visuality and Ideology in Dickens's A Christmas Carol." PMLA 109, no. 2 (March 1994): 254. http://dx.doi.org/10.2307/463120.

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31

Groves, D. "Note. James Hogg and the 'New Christmas Carol': a misattribution." Notes and Queries 46, no. 4 (December 1, 1999): 474. http://dx.doi.org/10.1093/nq/46.4.474.

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32

Stanton, B. "Vision of Pediatrics 2020: Lessons Learned From A Christmas Carol." PEDIATRICS 126, no. 5 (October 18, 2010): 1004–5. http://dx.doi.org/10.1542/peds.2010-2246.

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33

Moody, Emily. ""Implausible and Inappropriate"? A defense of Dickens's A Christmas Carol." Dickens Quarterly 37, no. 4 (2020): 393–408. http://dx.doi.org/10.1353/dqt.2020.0049.

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34

Pascual, D., E. M. Sánchez-Robles, M. M. García, and C. Goicoechea. "Chronic pain and cannabinoids. Great expectations or a christmas carol." Biochemical Pharmacology 157 (November 2018): 33–42. http://dx.doi.org/10.1016/j.bcp.2018.07.033.

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35

Filip, Mihăiță-Lucian. ""Marian Teachings Reflected in the Text of the Christmas Carol"." Teologie și Viață Anul XXXI (XCVII), no. 1-4 (April 30, 2021): 139–61. http://dx.doi.org/10.47433/tv.xcviin1-4.139.

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36

Kilgore, Jessica. "Father Christmas and Thomas Malthus: Charity, Epistemology, and Political Economy in A Christmas Carol." Dickens Studies Annual: Essays on Victorian Fiction 42, no. 1 (June 1, 2011): 143–58. http://dx.doi.org/10.7756/dsa.042.006.143-158.

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37

Winter, Eric. "The Christmas Carol Reader97257William Studwell. The Christmas Carol Reader. New York and London: Harrington Park Press 1995. 221 pp, ISBN: 1‐56023‐872‐0 $12.95." Reference Reviews 11, no. 4 (April 1997): 34. http://dx.doi.org/10.1108/rr.1997.11.4.34.257.

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38

Pylypchuk, Sviatoslav. "THE FOLKLORE SCENARIO OF “THE OLD MELODY” BY VASYL STEFANYK." Слово і Час, no. 2 (April 10, 2022): 42–54. http://dx.doi.org/10.33608/0236-1477.2022.02.42-54.

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The paper offers an analysis of Vasyl Stefanyk’s short story “The Old Melody”. This piece, first published in 1927 in the May edition of Kharkiv magazine “The Red Way” under the title “Brothers. The Old Melody”, is a highly artistic literary representation of the Christmas traditions in Pokuttia region. The author not only outlined the concept of the ritual behavior of the caroling community members but also enriched the piece with skillfully engraved passages from some glorifying carols addressed to an unmarried man. The history of this short story is worth special attention. The first attempt of reproducing a bright childhood memory in the form of an accomplished literary piece was undertaken by Stefanyk back in 1902. At that time, however, he limited himself to mere shaping of the plan. The final part of the incomplete essay “To My Mates” may be regarded as a kind of experimental version featuring the major Christmas motif, which was subsequently offered to the readers in the form of an accomplished short story. The folklore and ethnographic background of “The Old Melody” served as a context that allowed to trace out Stefanyk’s journey towards the perception of the Christmas spirit and scholarly consideration of the caroling repertoire (being a gymnasium student, he prepared an essay on carols). Very vivid passages from Christmas carols motivate to make an attempt to establish the exact folklore content that inspired the writer and name those samples of the lavish Ukrainian caroling tradition that were steadily present in the memory of the literary master. The short story reflects a kind of initiation ritual where a novice boy first communes with the archaic carol melody and enters the temple of the national millennial spiritual tradition.

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39

Bracken, Elspeth. "Imaginative Possibilities or Moral Fable? Different Ways of ReadingA Christmas Carol." Changing English 25, no. 1 (January 2, 2018): 3–13. http://dx.doi.org/10.1080/1358684x.2017.1409071.

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40

Stevenson, Deborah. "Marly's Ghost: A Remix of Charles Dickens's A Christmas Carol (review)." Bulletin of the Center for Children's Books 59, no. 5 (2006): 238. http://dx.doi.org/10.1353/bcc.2006.0033.

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41

Preston, Shale. "Teaching Guide for: ‘Existential Scrooge: A Kierkegaardian Reading ofA Christmas Carol’." Literature Compass 9, no. 11 (November 2012): 920–21. http://dx.doi.org/10.1111/j.1741-4113.2012.00901.x.

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42

CAIN, TOM. "Herrick's “Christmas Carol”: A New Poem, and Its Implications for Patronage." English Literary Renaissance 29, no. 1 (January 1999): 131–53. http://dx.doi.org/10.1111/j.1475-6757.1999.tb01139.x.

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43

Rozmus, Rafał. "Kolęda jako źródło inspiracji w twórczości kompozytorów polskich w latach 1945-2005." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (June 14, 2019): 101. http://dx.doi.org/10.17951/l.2018.16.1/2.101-181.

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<p>Repertuar muzyki bożonarodzeniowej z lat 1945-2005 ugruntowanej na rodzimej tradycji kolędowej przedstawia się jako dość obszerna część twórczości polskich kompozytorów. Jest to zjawisko zróżnicowane, obejmujące różne sposoby traktowania materiału kolędowego, rozmaite rozwiązania z zakresu formy, techniki kompozytorskiej, wielorakie rodzaje składów wykonawczych i różnorodne odcienie ekspresji dźwiękowej. Znajdujemy tu m.in.: częste nawiązania do polskiej muzyki ludowej, stylizacje historyzujące, język romantyczny i neoromantyczny, archaizacje, emanacje nowego języka dźwiękowego (sonorystyka, punktualizm, aleatoryzm, nowoczesna harmonika, technika repetytywna, klastery). W grupie opracowań kolęd (część I: <em>Opracowania kolęd</em>) kompozytorzy najczęściej wykorzystują powszechnie znane kolędy i pastorałki. W wypadku opracowań na chór <em>a cappella</em> i opracowań wokalno-instrumentalnych inspiracja płynie zarówno z tekstu słownego, jak i z melodii opracowanej kolędy (np. przez eksponowanie jej motywów w strukturze głosów kontrapunktujących). Wśród stosowanych technik kompozytorskich dominują środki konwencjonalne, nawiązujące stylistycznie do muzyki epoki romantyzmu lub wcześniejszych epok. Sporadycznie tylko tradycyjnej melodii kolędowej towarzyszą współczesny język harmoniczny i nowe środki wyrazu. W opracowaniach pastorałek często dochodzi do głosu stylizacja polskiego folkloru muzycznego – w melodyce (np. użycie skal charakterystycznych dla muzyki niektórych regionów Polski), rytmice (wykorzystywanie rytmów tanecznych), harmonice i fakturze (puste kwinty, dźwięki burdonowe). Szczególnie często twórcy nawiązują do muzyki Podhala. Instrumentalne opracowania mają natomiast z reguły charakter użytkowy – służą do gry w kościele, celom dydaktycznym, muzykowaniu domowemu. Grupa kompozycji (część II: <em>Kompozycje</em>), które odwołują się do rodzimej tradycji kolędowo-pastorałkowej, dystansując się jednocześnie od praktyki opracowań, aranżacji itp., jest dużo bardziej zróżnicowana, zarówno pod względem tekstowym, jak i muzycznym. W utworach wokalnych i wokalno-instrumentalnych uderza rozległość warstwy literackiej, obejmującej teksty z dawnych epok, XIX w., poezję współczesną, twórczość ludową, teksty łacińskie. W ślad za tym idzie daleko posunięta różnorodność środków i technik kompozytorskich, konwencji stylistycznych i typów ekspresji. Z jednej strony pojawiają się archaizacje – nawiązania do organum, chorału gregoriańskiego, rytmiki i harmoniki modalnej, dawnych form, z drugiej – ludowe stylizacje, neobarok, kompozycje romantyzujące, dzieła oparte na współczesnym języku dźwiękowym. Równie wielką rozmaitość zauważamy w sposobach traktowania tradycyjnego materiału kolędowego, począwszy od nasycenia nim struktury motywicznej kompozycji (materiał tematyczny, imitacje, snucie motywiczne), po okazjonalne cytaty, a nawet takie sytuacje, gdzie nowo skomponowana muzyka unika cytatu, a mimo to – w różny sposób – przywołuje kolędowo-pastorałkowy nastrój. Podobnie rzecz ma się z kompozycjami instrumentalnymi. Są pośród nich takie, w których melodia kolędy staje się czynnikiem konstrukcyjnym, na drugim zaś biegunie sytuują się utwory, w którym cytat z kolędy pojawia się okazjonalnie, pełniąc rolę symbolu.</p><p> </p><p><strong>Christmas Carol as a Source of Inspiration in the Works of Polish Composers in 1945-2005</strong></p>SUMMARY<p>The repertoire of Christmas music from 1945-2005, consolidated on the native Christmas carol tradition, can be perceived as a vast part of the works of Polish composers. It is a diverse phenomenon, comprising various ways of treatment of the Christmas carol material, various solutions in the form, composer’s technique, various kinds of the artist forces, and various shadows of sound expression. We may fi nd here inter alia: frequent references to Polish folk music, historicizing stylizations, Romantic and neo-Romantic language, archaizations, emanations of a new sound language (sonorism, punctualism, aleatorism, modern harmonica, repetitive technique, clusters). In the group of adaptations of carols (Part I – Adaptation of Carols) the composers frequently make use of commonly known carols and pastorals. In the case of adaptations for a choir a cappella and vocal-instrumental adaptations, the inspiration stems from both the verbal text and melody of the adapted carol e.g. by emphasizing its motifs in the structure of counterpoint voices). Among applied composer’s techniques, conventional means dominate which stylistically refer to the music of Romantic or previous epochs. Only sporadically the traditional carol melody is accompanied by modern harmonic language and new means of expression. In the adaptation of pastorals the stylization of Polish musical folklore is very often heard – in the melody pattern (e.g. the use of scales characteristic of the music of some regions in Poland), in rhythmicity (the use of dancing rhythms), in harmony and texture (empty fi fths, bourdon sounds). The composers particularly frequently refer to the music of the Podhale region. Instrumental adaptations are usually of practical character – they serve to be played in church, for didactic purposes, to play music at home. The group of compositions (Part II – Compositions) which refers to the native carol-pastoral tradition, while at same time distancing itself from the practice of arrangements etc., is far more diverse both as far as the text and melody is concerned. In vocal and vocal-instrumental works the vastness of the literary layer is striking; it comprises the texts from old epochs, 19th century, modern poetry, folk works, and Latin texts. This is followed by a variety of means and composer’s techniques, stylistic conventions, and types of expression. On the one hand, there are archaizations – references to the organum, Gregorian chorale, rhythmicity and modal harmony of old forms, on the other hand – folk stylizations, neo-Baroque, romanticizing compositions, work based on modern sound language. We may also perceive a great variety in the way of treating traditional carol, material from fi lling with it the motif structure of the composition (thematic material, imitation, motif repetitions) to occasional citations, and even to such situations where newly composed music avoids a citation, nevertheless it refers to the carol-pastoral mood). The same applies to the instrumental compositions. There are compositions in which the melody of a carol is a constructive factor; at the opposite end there are musical pieces in which the citation from a carol appears occasionally, playing the role of a symbol.</p>

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Toporkov, Andrey L. "The History of a Ritual Text Published by Ivan Sakharov." Studia Litterarum 6, no. 4 (2021): 372–99. http://dx.doi.org/10.22455/2500-4247-2021-6-4-372-399.

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Among the publications prepared by Ivan Petrovich Sakharov (1807–1863), there are a number of texts that represent literary stylizations and hoaxes based on folklore. The article deals with one of these pseudo-folklore texts — a Christmas carol (kolyadka) that describes goat sacrifice. This carol was first published by I.P. Sakharov in 1837, reprinted by I.M. Snegirev in 1838, and then reproduced by many researchers of Slavic mythology. This paper argues that this carol is a combination of two texts: the first of them is the carol first published in 1817 by I.E. Sreznevsky in Ukrainsky Vestnik; the second one is the song being part of the fairy tale about brother Ivanushka and sister Alyonushka (SUS 450). This contamination is unique and occurs only in one text, albeit many times reprinted later. The article argues that this carol may belong to the pen of two anonymous folklore carriers, I.E. Sreznevsky and I.P. Sakharov. Sakharov’s stylization technique is characterized by the contamination of works belonging to various folklore genres. As a result, we encounter texts that are obscure within authentic tradition. Despite the fact that the Sakharov carol is an authored work, generations of historians and mythologists read it as a description of the ritual that was performed in ancient times by pagan Slavs.

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Vidović, Ester. "A Christmas Carol: Disability Conceptualised through Empathy and the Philosophy of ‘Technologically Useful Bodies’." International Research in Children's Literature 6, no. 2 (December 2013): 176–91. http://dx.doi.org/10.3366/ircl.2013.0097.

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The article explores how two cultural models which were dominant in Great Britain during the Victorian era – the model based on the philosophy of ‘technologically useful bodies’ and the Christian model of empathy – were connected with the understanding of disability. Both cultural models are metaphorically constituted and based on the ‘container’ and ‘up and down’ image schemas respectively. 1 The intersubjective character of cultural models is foregrounded, in particular, in the context of conceiving of abstract concepts such as emotions and attitudes. The issue of disability is addressed from a cognitive linguistic approach to literary analysis while studying the reflections of the two cultural models on the portrayal of the main characters of Charles Dickens's A Christmas Carol. The studied cultural models appeared to be relatively stable, while their evaluative aspects proved to be subject to historical change. The article provides incentives for further study which could include research on the connectedness between, on one hand, empathy with fictional characters roused by reading Dickens's works and influenced by cultural models dominant during the Victorian period in Britain and, on the other hand, the contemporaries’ actual actions taken to ameliorate the social position of the disabled in Victorian Britain.

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Russell, Ian. "'While Shepherds Watched their Flocks by Night': A Paradigm of English Village Carolling for Three Centuries." European Journal of Musicology 20, no. 1 (April 10, 2022): 81–104. http://dx.doi.org/10.5450/ejm.20.1.2021.81.

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Why has one carol above all others become the most widely sung lyric in English vernacular carolling traditions during the last three centuries? What is it about the simple balladic structure that has endeared this narrative of the birth of Jesus Christ to generations of carollers? By what means did these words become so widely circulated and how has their popularity been sustained? Why have the singers/musicians been inspired to create and recreate so many musical settings to this text to celebrate each Christmas anew? In this article the history and development of the carol is summarised, and key examples of the tunes adopted in its musical pathway in tradition are provided. The significance of the text is examined, alongside the sacred and secular nature of its performance in the carolling communities of the Pennine hills of south Yorkshire and north Derbyshire. The aim of the article is to provide insights into the carol’s longevity and its centrality to the many local traditions. Other aspects of vernacular Christmas carolling are touched on, including the construction of repertoire, the development of tradition, the process of annual renewal, and the experiential aspects of performance.

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Mureşan, Patricia Smaranda. "The Traditional Romanian Folk Dance in Şieuţ, Bistriţa-Năsăud County, as Part of the Winter Traditions and Customs. Carol Singers and the “Beer”." Studia Universitatis Babeș-Bolyai Historia 66, Special Issue (November 9, 2021): 151–70. http://dx.doi.org/10.24193/subbhist.2021.spiss.10.

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"The present study focuses on the custom of “Beer”, a remarkable event that shaped the evolution of the communities that were part of the Second Romanian Border Regiment at Năsăud, a military unit of the Austrian army in Transylvania between the eighteenth and nineteenth centuries. It focuses specifically on the Şieuţ village and the detailed manner in which this social event was organized by the village’s young men between Christmas and the New Year, when young villagers could attend the “Beer”, an important occasion for social interaction. This research is based on a series of interviews with active community members from then and now and aims to offer an overview of the custom’s meaning and structure. According to tradition, during the Nativity Fast, young men would follow the call of the “bucin” and meet at the house of a host to plan the event. They were assigned the roles of “vătafi” and “colceri” who hired musicians for the event, while the “căprari” were responsible for collecting the traditional pastry received by carol singers. On Christmas Eve, they grouped and went caroling throughout the village. After the Christmas church service, the traditional folk dance (“Beer”) started at the host’s house. The traditional festive garments, the young men going caroling or the traditional men’s folk dance from Şieuţ, included in the UNESCO World Heritage, represent elements of this custom that have survived the passage of time, integrating the traditional into modern life. Keywords: Şieuţ, ”Beer”, Romanian folk dance, tradition, carol "

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Miranda, Flávio. "Saga der portugiesischen Feigen D." Hansische Geschichtsblätter 133 (May 30, 2020): 77–97. http://dx.doi.org/10.21248/hgbll.2015.79.

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The saga of the Portuguese figsWhen Bob Cratchit in Charles Dickens’ ,Christmas CaroL made his wishes for Christmas, he hoped for a new job. love and some figgy pudding. From the 16th Century (at the latest) figgy pudding was one of the traditional dishes in English Lenten cuisine. The figs used were certainly South-European, and in the Middle Ages most of them came from Portugal. This article deals with five aspects of the production and trade of figs in the Portuguese realm. In the first two parts the article describes the production of these dried fruits and how local communities acted as protectors of the regional harvest. Then the units of measure of fig production in Portugal and their Arabic and Christian origin will be outlined, while the last two parts deal with the export of the dried fruits, chiefly to England and Flanders, and the direct connection between Portuguese and Hanseatic merchants. The article will show how important this trade was, given that the king of Portugal alone exported 400 tons of figs to Bruges at the end of the 15th Century.

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Lowe, Scott C. "EBENEZER SCROOGE – MAN OF PRINCIPLE." Think 8, no. 23 (2009): 27–34. http://dx.doi.org/10.1017/s1477175609990030.

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‘Bah! Humbug!’ It's the most famous line in Charles Dickens' A Christmas Carol, but is it the most important? Surely not, for this Christmas classic is not centrally about Christmas, but about a man, the holiday being the convenient setting for his transformation. What kind of transformation? Why a moral transformation of course, because the man, Ebenezer Scrooge, through multiple encounters with the spirit world, becomes a good man by the end of the story. But where does this story begin, what are we to think of Scrooge at the outset and how is his transformation accomplished? These are the questions I take up here, for while Scrooge is tightfisted, covetous and hard-hearted, he is still a man of principle. Judged by the standards of some views on ethics, Scrooge isn't actually all that bad. How can that be? Let's start with a quick overview of two centuries of ethical theory.

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Johnson, David. "Edinburgh: Lyell Cresswell's ‘Good angel, bad Angel’." Tempo 59, no. 234 (September 21, 2005): 40–41. http://dx.doi.org/10.1017/s0040298205240305.

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Good angel, bad angel is a new 1-act opera, premièred in Edinburgh on 20 May and toured to Glasgow, Peebles and Inverness on 21, 23 and 25 May; it received four performances in all. It lasts almost exactly an hour, and is scored for the slenderest forces imaginable – three singers covering six roles, and an orchestra of four players (bass clarinet doubling B flat clarinet, violin, viola, cello). The story is nasty, centring on the pointless murder of a miserly old shopkeeper on Christmas Day; it slightly reminds one of A Christmas Carol, except that it completely lacks Dickens's optimism and hope. The opera supposedly ends with the central character's redemption, but this is ambiguous and pretty hard to follow.

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