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Relevant bibliographies by topics / Asian Hymns

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Academic literature on the topic 'Asian Hymns'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Asian Hymns"

1

Nicolaus, Peter. "Noah and the Serpent." Iran and the Caucasus 22, no. 3 (September 25, 2018): 257–73. http://dx.doi.org/10.1163/1573384x-20180304.

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The Prophet Noah is not a predominant figure within the Yezidi mythology, and so it should come as no particular surprise that he is often absent from the Yezidi sacred hymns. This peculiarity seems easily explained by the Yezidi cosmogonic myth, which places the emergence of Yezidis as a separate and wholly distinct occurrence from the genesis of the rest of humanity. Hence, a mythical catastrophe reducing mankind to merely one family would certainly contradict said cosmogony. And yet, the tale of “Noah and the Serpent” somehow finds itself recounted within every Yezidi community. The present paper will demonstrate that this veneration of Noah is a remnant of an essential Gnostic myth and has the makings of a Wandersage—containing elements of Central Asian beliefs and Mesopotamian mythology,—which is not only widely attested among the Muslim and Christian neighbours of the Yezidis in Northern Iraq but narrated throughout Asia Minor, Central Asia, as well as South-eastern and Eastern Europe.

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Thornton, Elizabeth. "“Go Home, Purūravas”: Heterodox Rhetoric of a Late Rigvedic Dialogue Hymn." Journal for the History of Rhetoric 22, no. 2 (May 2019): 208–22. http://dx.doi.org/10.5325/jhistrhetoric.22.2.0208.

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ABSTRACT This essay attempts to de-link the study of the Rigveda from both colonial philology and ongoing Hindu nationalist projects. It brings the rhetoric of form, especially as theorized by Kenneth Burke, to open up space for critics and commentators with a broader range of relationships to Brahmanical liturgy. To further the goal of delinking, it first narrows the scope of analysis to dialogue hymns, which are reminiscent of debates found within Buddhist conversion narratives rendered in versified Sanskrit. It then centers formal linguistic figures that these two layers of Sanskrit poetry have in common. Finally, conceptualizing these formal devices, it uses analytic categories from a South Asian critical tradition (alaṃkāraśāstra). Framed and constrained in this manner and applied to the (ex-)lovers’ quarrel of Purūravas and Urvaśī (in R.V. 10.95), a Burkean analysis reveals an exchange that both satisfies the “appetites” and allays the concerns of conservative audiences, who otherwise might fear that their wives could follow Urvaśī’s example and happily part with their wedded partners-in-sacrifice.

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Marr, John R. "Indira Viswanathan Peterson: Poems to Śiva: the hymns of the Tamil saints. (Princeton Library of Asian Translations.) xvi, 382 pp. 15 plates. Princeton, N.J.: Princeton University Press, 1989. $49.50." Bulletin of the School of Oriental and African Studies 54, no. 3 (October 1991): 597–98. http://dx.doi.org/10.1017/s0041977x00001130.

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Gaur, Albertine. "Poems to Śiva: the hymns of the Tamil saints. By Indira Viswanathan Peterson. (Princeton Library of Asian Translations.) pp. xvi, 282, 15 pl., map. Princeton, N.J., Princeton University Press, 1989. US $50.00." Journal of the Royal Asiatic Society 1, no. 1 (April 1991): 137–38. http://dx.doi.org/10.1017/s1356186300000304.

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Lewis, Todd T. "Songs of Nepal: An Anthology of Nevar Folksongs and Hymns. By Siegfried Lienhard. Honolulu: University of Hawaii Press, 1984. (Asian Studies at Hawaii, no. 30.) vii, 221 pp. Appendixes, Select Bibliography. $17 (paper)." Journal of Asian Studies 44, no. 3 (May 1985): 641–42. http://dx.doi.org/10.2307/2056317.

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Hutt, Michael. "Siegfried Lienhard: Songs of Nepal: an anthology of Nevar folksongs and hymns.(Revised edition.) (Aisan Studies at Hawaii, No. 30.) vii, 22 pp. Honolulu: University of Hawaii, Center for Asian and Pacific Studies[and]University of Hawaii Press, 1984. $17." Bulletin of the School of Oriental and African Studies 50, no. 1 (February 1987): 153–54. http://dx.doi.org/10.1017/s0041977x00053544.

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Khan, Dominique-Sila. "Book reviews and notices : CHRISTOPHER SHACKLE and ZAWAHIR MOIR, Ismaili hymns from South Asia: An introduction to the ginans. SOAS South Asian Texts, 3. London: School of Oriental and African Studies, University of London, 1992. xv + 258 pp. Map, figs., text, notes, gloss., bibliogr., indexes." Contributions to Indian Sociology 30, no. 2 (November 1996): 334–35. http://dx.doi.org/10.1177/006996679603000233.

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Rahmawati, Risa Dewi. "AN ANALYSIS OF EXPRESSIVE SPEECH ACTS USED IN CRAZY RICH ASIAN MOVIE." Journal of Language and Literature 9, no. 1 (2021): 83–94. http://dx.doi.org/10.35760/jll.2021.v9i1.2961.

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This research studies about expressive speech act in Crazy Rich Asian movie, the objectives of the research are to describe (1) to analyze the type of expressive speech act found in Crazy Rich Asian movie and (2) to describe the S-P-E-A-K-I-N-G model used in Crazy Rich Asian movie. This research used theory from Searle (1985) and Hymes (1974) in analyzing the data. There are twelve expressive speech act mentioned by Searle; apologize, thank, condole, congratulate, complain, lament, protest, deplore, boast, compliment, greet, and welcome. This research used descriptive qualitative method. The researcher collected expressive speech act utterances as the data to be analyzed; in analyzing the data the researcher used S-P-E-A-K-I-N-G model. The results showed that there were 52 data of expressive speech act and only ten types of expressive speech found in Crazy Rich Asian movie, some of the expressive types appeared except expressive act of condole and boast. the researcher used SPEAKING model is to know how the meaning of the social context, the purpose of the interaction in detail and describe them into analysis text. From the data analysis it shows that the types of expressive speech act that oftenly come up are apologize, thank and compliment. It shows that the characters in the Crazy Rich Asian movie more showed politeness and friendly attitude to others.

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Wieteska, Magda. "Chinese education in the novel by A. Chua Battle hymn of the tiger mother." Journal of Education Culture and Society 8, no. 1 (July 10, 2017): 201–8. http://dx.doi.org/10.15503/jecs20171.201.208.

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Chinese culture and tradition stand in direct opposition to American and European cultures. Chinese children must live according to the principles of metaconfucianism from an early age. Failure to do so threatens social ostracism.Amy Chua in her autobiographical novel Battle Hymn of the Tiger Mother describes the education of her two daughters living in America according to the principles present in China. The educational methods used by Chua are considered controversial by western parents. The author made an attempt to explain the motives of Asian mothers.

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Irawan, Stefanny. "Tiger mother and her cubs on a stage:." k@ta 21, no. 1 (June 21, 2019): 33–41. http://dx.doi.org/10.9744/kata.21.1.33-41.

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Ever since the publication of Amy Chua’s memoir, Battle Hymn of The Tiger Mother, in 2011, Asian or Asian-heritage parenting has received more time under the limelight both in and out of the United States. More attention is given to the effects of that particular parenting style on the children’s academic achievement and wellbeing. Listen to Me (LTM), a play by Bernadeth Febyola Linando (2018) published as one of Petra Little Theatre’s New Play Development Series, indicates that the issue also hits a nerve among young contemporary Indonesian playwrights. This paper is interested in finding out how LTM portrays Tiger Mother parenting style and its impact on the children. Upon analyzing the play using the conceptual framework of parenting styles and their impacts, this paper argues that LTM displays a typical Tiger Mother parenting similar to Chua’s with a slight difference, and it shows mainly negative results of such parenting on the main character, and, on the side, some positive results on two other supporting characters.

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Dissertations / Theses on the topic "Asian Hymns"

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

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Books on the topic "Asian Hymns"

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Christian, Conference of Asia (7th 1981 Bangalore India). Worship handbook: 7th Assembly of Christian Conference of Asia, May 18-28, 1981, Bangalore, India. Toa Payoh, Singapore: Christian Conference of Asia, 1985.

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Loh, I.-to. Hymnal companion to Sound the bamboo: Asian hymns in their cultural and liturgical contexts. Chicago: GIA Publications, 2011.

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Philippines) Christian Conference of Asia. (9th 1990 Manila. Worship resources 9th CCA Assembly: June 5 [i.e. 4]-12, 1990, Manila Philippines. Hong Kong: Christian Conference of Asia, 1990.

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4

Massoudieh, Mohammad Taghi. Musik in Balūc̆estān. Hamburg: Verlag der Musikalienhandlung K.D. Wagner, 1988.

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5

Cháng, Sần. Mo tang lẽ̂ dân tộc Giáy. Hà Nội: Nhà xuá̂t bản Văn hóa dân tộc, 2004.

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Cháng, Sần. Mo cùa hẹc pú Giáy Lào Cai =: Mo trong đám tang người Giáy Lào Cay. Hà Nội: Nhà xuất bản Văn hóa dân tộc, 2010.

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7

Lò, Văn Chiến. Bài ca trong lễ tang người Pú Nả. Hà Nội: Nhà xuấ̇t bản Văn hóa dân tộc, 2007.

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8

Shackle, C. Ismaili hymns from South Asia: An introduction to the ginans. London: School of Oriental and African Studies, University of London, 1992.

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9

Zawahir, Moir, ed. Ismaili hymns from South Asia: An introduction to the ginans. Richmond: Curzon Press, 2000.

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10

Chua, Amy. Battle hymn of the tiger mother. New York: Penguin Press, 2011.

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Book chapters on the topic "Asian Hymns"

1

Hong, Li-Xing. "Evangelization Through Religious Music and Hymns: China and Taiwan." In The Palgrave Handbook of the Catholic Church in East Asia, 1–28. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-9365-9_11-1.

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Kwon, Youngpa. "Music as a Bridge of Culture and Passageway of Faith: Evangelization Through Religious Music and Hymns in Korea." In The Palgrave Handbook of the Catholic Church in East Asia, 1–24. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-15-9365-9_24-1.

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3

Feldman, Walter. "The Sema’ i in the Third Selam and the Son Yürük Sema’i: Nucleus of the Antecedent Sam ā ’?" In From Rumi to the Whirling Dervishes, 218–32. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0010.

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The sema’i usul in 6/8 characterizes the latter half of the Third Selam of the ayin. The name implies its history within earlier forms of Sufi dance. Sema’i as both term and musical form has also been adopted into the Ottoman secular repertoire, both as vocal and as instrumental music. This usul also characterizes many of the hymns (nefes) of the Bektashi dervishes, but not the ilahis of the Sunni Dervish Orders. In the ayin its appearance is always signaled by the singing of a hymn in the Turkish language, praising Rumi’s son Sultan Veled (d. 1312). This chapter compares 17th century and later versions of this Turkish hymn, and then old sema’i items in both the Ali Ufuki and Cantemir Collections with Bektashi and also Khorezmian ritualistic vocal and instrumental music. The manifest structural similarities among all of these items, strongly suggest an origin within antecedent Central Asian sufistic practices, harking back to yet earlier Turkic shamanism. Thus this single Turkish language hymn of the 14th century appears as a key unlocking the earlier history of larger shamanistic and sufistic practices that became acclimatized among the Mevlevis in Anatolia, prior to their consolidation in Ottoman Istanbul.

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4

Stainton, Hamsa. "Poetry as Prayer." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 159–96. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0005.

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This chapter develops the study of poetry as prayer. It reviews recent scholarship on prayer and evaluates the perils and potential of prayer as a category of analysis in the study of South Asian religions. Then, focusing on an important and previously unstudied text from fourteenth-century Kashmir—Jagaddhara Bhaṭṭa’s Stutikusumāñjali (Flower-Offering of Praise)—it analyzes various types of prayer sheltered under the umbrella of the stotra genre. In addition, it explores two creative ways of interpreting poetic prayer. First, it examines how Jagaddhara dramatizes Śiva’s interactions with Sarasvatī as the beautifully embodied form of poetry. Then it analyzes praise-poetry as a type of verbal prasāda, an offering received by a deity and then enjoyed by a community of devotees. Finally, the chapter argues that some of the evidence from Kashmir challenges a persistent view in the study of Hinduism that “true” prayer is a spontaneous outpouring of the heart.

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"'Vedic Hymns'." In Voices of South Asia, 13–21. Routledge, 2015. http://dx.doi.org/10.4324/9781315698311-2.

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Stainton, Hamsa. "Introduction." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 1–26. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0001.

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This chapter frames the present study of Sanskrit hymns of praise from Kashmir in terms of the relationship between poetic and religious expression in South Asia. It introduces and discusses six key elements that weave throughout the book: the genre known as the stotra (hymn of praise); poetry (kāvya); poetics (alaṅkāraśāstra); prayer; bhakti (devotion); and the region of Kashmir, including the major contours of its religious and literary history. In doing so, the chapter summarizes the central themes of the book and establishes the context for analyzing poetry as prayer. It concludes by reviewing the contents and organization of the book.

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Stainton, Hamsa. "Stotra Literature." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 27–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0002.

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This chapter presents an overview and analysis of stotra literature in South Asia from three different angles: definition, classification, and history. It first reviews recent descriptions of the stotra genre and offers a working definition for the present study. Then it considers some of the factors that can be used to classify and analyze this voluminous and diverse corpus. In doing so, it highlights many of the most salient and recurring features of stotra literature overall. Finally, it surveys the history of stotra literature in South Asia, highlighting key texts, authors, and periods of development, such as the relationship between stotras and Vedic hymns, political eulogies (praśasti), and vernacular devotional (bhakti) poetry, the early history of Buddhist and Jain stotras, and hymns by or attributed to famous authors like Śaṅkara. Overall, the chapter highlights the diversity, flexibility, and persistent appeal of stotra literature across regions and traditions over the millennia.

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Stainton, Hamsa. "Conclusion." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 287–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0009.

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This concluding chapter returns to the recurring themes introduced in Chapter 1—Kashmir, poetry, poetics, stotra, bhakti, and prayer—in light of the arguments developed throughout this book. It explores how stotras are about relationships and connections, and it argues that these Sanskrit hymns are critical sources for studying the history and historiography of bhakti traditions in South Asia. It summarizes the appeal of the stotra form as a genre for religious practice and reflection, and it revisits what this study of Sanskrit hymns contributes to the study of prayer more broadly. As a whole, this chapter serves as a commentary on the title of the book, unpacking what it means to study poetry as prayer in the stotras of Kashmir.

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Stainton, Hamsa. "Devotion as Rasa." In Poetry as Prayer in the Sanskrit Hymns of Kashmir, 231–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190889814.003.0007.

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In addition to being an important center for religious innovation and literary production, Kashmir was also the site of major developments in aesthetics from the end of the eighth century onward. After reviewing this history, this chapter considers how Kashmirian poets adopted and adapted language and ideas from aesthetics—particularly the language of rasa—in unusual and creative ways. It focuses on the idea of bhaktirasa, the “taste” or experience of devotion. Notably, many Kashmirian explorations of bhaktirasa occurred long before Gauḍīya Vaiṣṇava authors would make bhaktirasa well known in South Asia. This chapter argues that the Śaiva hymns of Kashmir represent earlier reflections on the aesthetic dimensions of devotion that can contribute to our understanding of the relationship between aesthetics and religion in South Asia.

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Brereton, Joel P., and Stephanie W. Jamison. "Historical Context." In The Rigveda, 9–12. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190633363.003.0002.

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This chapter discusses the prehistory of the Indo-Aryan peoples ancestral to those who composed the Ṛgveda. On the basis of shared linguistic and cultural evidence it defends the view that these peoples migrated into northwest South Asia, splitting off from the larger group of Indo-Iranians, a branch of Indo-European, who migrated south and east from the steppes. In particular it takes up the shared heritage of Old Indo-Aryan (Vedic) and Old Iranian (Avestan) language, literature, and religion, specifically comparing the poetry and ritual practices of the Ṛgveda with those found in Avestan, particularly the hymns, called Gāthās (songs), attributed to Zarathustra. It also examines the soma/haoma cult that dominated the ritual practice of both Vedic and Avestan elite populations.

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Conference papers on the topic "Asian Hymns"

1

Rampton, Ben. "Changing Sociolinguistic Concerns, Linguistic Ethnography, and North/South Research Relations?" In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.1-2.

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Many influential theories and concepts in applied and sociolinguistics – such as ‘intercultural communication’ or ‘language standardisation’ – are inevitably limited by the conditions prevailing inside the Western nation-states, from which they have now emerged. These Westernized theories and concepts are prevalent, yet are being increasingly contested and subject to scrutiny by scholars the world over. But in this talk, I will focus on Linguistic Ethnography and Interactional Sociolinguistics as modes of enquiry, and I will ask whether, how far and in what ways they avoid “scientific colonialism” (Hymes 1969, pp. 49, 55), along with the manner and extent to which they are “forms of scientific knowledge … compatible with a democratic way of life, least likely to produce a world in which experts control knowledge at the expense of those who are studied” (1980, pp. 105, 99).

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Kataoka, Kuniyoshi. "Poetics through Body and Soul: A Plurimodal Approach." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-1.

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In this presentation, I will show that various multimodal resources—such as utterance, prosody, rhythm, schematic images, and bodily reactions—may integratively contribute to the holistic achievement of poeticity. By incorporating the ideas from “ethnopoetics” (Hymes 1981, 1996) and “gesture studies” (McNeill 1992, 2005), I will present a plurimodal analysis of naturally occurring interactions by highlighting the interplay among the verbal, nonverbal, and corporeal representations. With those observations, I confirm that poeticity is not a distinctive quality restricted to constructed poetry or “high” culture, but rather an endowment to any kind of natural discourse that is co-constructed by various semiotic resources. My claim specifically concerns a renewed interest in an ethnopoetic kata ‘form/ shape/ style/ model’ embraced as performative “habitus” among Japanese speakers (Kataoka 2012). Kata, in its broader sense, is stable as well as versatile, often serving as an organizational “template” for performance, which at opportune moments may change its shape and trajectory according to ongoing developments. In other words, preferred structures are not confined to an emergent management of performance, but should also incorporate culturally embedded practices with immediate (re)actions. In order to promote this claim, I explore a case in which mutually coordinated performance is extensively pursued for sharing sympathy and camaraderie. Such a kata-driven construction was typically observed in a highly involved, interactional interview about the Great East Japan Earthquake, in which both interviewer and interviewee were recursively oriented and attuned to the same rhythmic and organizational pattern consisting of an odd-number of kata. Based on these observations, I argue that indigenous principles of organizing discourse are as crucial as the mechanisms of conversational organization, with the higher-order, macro cultural preferences inevitably infiltrating into the micro management of spontaneous talk.

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