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1
Egya, Sule E. "Eco-human engagement in recent Nigerian poetry in English." Journal of Postcolonial Writing 49, no. 1 (February 2013): 60–70. http://dx.doi.org/10.1080/17449855.2012.677404.
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Wawn, Andrew, and Judith N. Garde. "Old English Poetry in Medieval Christian Perspective: A Doctrinal Approach." Modern Language Review 89, no. 1 (January 1994): 182. http://dx.doi.org/10.2307/3733170.
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Gardner, Kevin J. "Parish of the Dead." Religion and the Arts 20, no. 5 (2016): 637–62. http://dx.doi.org/10.1163/15685292-02005004.
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This essay offers an introduction to the poetry of Peter Scupham. Through close readings of individual poems, I demonstrate the beauty and formal accomplishment of his work, and I argue that his poetry embodies his sense of a living Christian tradition, one that also inheres in the English landscape. I further argue that this tradition connects the dead to the living, and the remote in time to more recent English history. The particular Christian ethos of Scupham’s poetry is one in which tradition, order, design, meaning, and essence are paramount.
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Egya, Sule E. "Art and Outrage: A Critical Survey of Recent Nigerian Poetry in English." Research in African Literatures 42, no. 1 (March 2011): 49–67. http://dx.doi.org/10.2979/ral.2011.42.1.49.
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Egya. "Art and Outrage: A Critical Survey of Recent Nigerian Poetry in English." Research in African Literatures 42, no. 1 (2011): 49. http://dx.doi.org/10.2979/reseafrilite.2011.42.1.49.
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Egya, Sule E. "Imagining Beast: Images of the Oppressor in Recent Nigerian Poetry in English." Journal of Commonwealth Literature 46, no. 2 (June 2011): 345–58. http://dx.doi.org/10.1177/0021989411404996.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Anderson, Earl R. "The uncarpentered world of Old English poetry." Anglo-Saxon England 20 (December 1991): 65–80. http://dx.doi.org/10.1017/s0263675100001757.
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Cultural archaism is often thought of as a natural concomitant of oral tradition, and by extension, of a literature that is influenced by oral tradition. In the case of Old English poetry, archaism might include residual pagan religious beliefs and practices, such as the funeral rites inBeowulfor the use of runes for sortilege, and certain outmoded aspects of social organization such as the idea of a state dependent upon thecomitatusfor military security. An example often cited is the adaptation of heroic terminology and detail to Christian topics. The compositional method in Cædmon's ‘Hymn’, for instance, is regarded by many scholars as an adaptation of panegyric epithets to the praise of God, although N. F. Blake has noted that heroic epithets in the poem could have derived their inspiration from the psalms. InThe Dream of the Rood, the image of Christ mounting the Cross as a warrior leaping to battle has been regarded variously as evidence of an artistic limitation imposed by oral tradition, or as a learned metaphor pointing to the divine and human nature of Christ and to the crucifixion as a conflict between Christ and the devil. The martyrdom of the apostles is represented as military conflict in Cynewulf'sFates of the Apostles, Christ and his apostles as king andcomitatusin Cynewulf'sAscension, and temptation by devils as a military attack inGuthlac A; these illustrate a point made by A.B. Lord concerning the nature of conservatism in oral tradition: ‘tradition is not a thing of the past but a living and dynamic process which began in the past [and] flourishes in the present’.
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Bately, Janet M. "Old English prose before and during the reign of Alfred." Anglo-Saxon England 17 (December 1988): 93–138. http://dx.doi.org/10.1017/s026367510000404x.
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Old English poetry had its origins in the pagan continental past of the Anglo-Saxons. The development of an Old English literary prose is generally supposed to have taken place many centuries later in Christian England. According to a recent work by Michael Alexander, for instance.
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Hedges, James. "Book Review: The Christian Tradition in English Literature: Poetry, Plays, and Shorter Prose." Christianity & Literature 57, no. 4 (September 2008): 606–9. http://dx.doi.org/10.1177/014833310805700411.
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Waite, Greg. "Old English poetry in medieval Christian perspective: a doctrinal approach (review)." Parergon 10, no. 2 (1992): 205–6. http://dx.doi.org/10.1353/pgn.1992.0082.
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EGYA, SULE E. "The Aesthetic of Rage in Recent Nigerian Poetry in English: Olu Oguibe and Ogaga Ifowodo." Matatu 39, no. 1 (2011): 99–114. http://dx.doi.org/10.1163/9789401200745_007.
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Appleby, Raphael. "Review of Book: The Christian Tradition in English Literature: Poetry, Plays and Shorter Prose." Downside Review 126, no. 444 (July 2008): 234. http://dx.doi.org/10.1177/001258060812644410.
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Divjak, Alenka. "The exploitation of heroic conventions in the OE poem Andreas: an artistic misconduct or a convincing blend of traditional literary concepts and new Christian ideas?" Acta Neophilologica 45, no. 1-2 (December 31, 2012): 139–52. http://dx.doi.org/10.4312/an.45.1-2.139-152.
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This paper examines the function of traditional heroic concepts, typical of the traditional military Germanic society, in the Christian environment of the Old English poem Andreas, whose indebtedness to the traditional heroic poetry has been generally recognised. The paper juxtaposes four examples of traditional heroic ethos from Beowulf, the most detailed example of heroic poetry, and the text to which Andreas is verbally and stylistically very close, with the relevant parallels from Andreas, in order to determine to what extent the traditional images relating to the life of traditional heroic society still retain in Andreas their traditional connotations and to what extent they are imbued with the new Christian meaning.
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Griffith, Mark. "Old English poetic diction not in Old English verse or prose – and the curious case of Aldhelm's five athletes." Anglo-Saxon England 43 (November 26, 2014): 99–131. http://dx.doi.org/10.1017/s0263675114000040.
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AbstractThree contexts characterized by the occasional appearance of Old English poetic diction outside of Old English poetry — debased verse, rhythmical prose, and prose passages with rhetorical heightening — have been surveyed by previous scholars, but no serious consideration has been given to the use of poetic lexis to be found in the surviving glosses and glossaries. The article first looks at some examples in these non-poetic texts of poetic words used as markers of the heroic, the elegiac, the sublime, the exotic and the monstrous, before moving on to a detailed analysis of a significant discovery. The glosses and glossary batches to Aldhelm's extended simile in De Virginitate comparing the educational development of Christian nuns to the exertions of various athletes display (when taken together) a unique cluster of poetic diction, comparable in density (and perhaps also in motivation) to that found only in the most enriched passages of traditional heroic poetry.
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True, Amber. "Revising Orthodoxy in the Poems of Robert Southwell." Renascence 72, no. 1 (2020): 43–60. http://dx.doi.org/10.5840/renascence20207213.
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Community is the framework for the Christian experience. The Greek text from which the English bible is translated uses the ἐκκλησια, which means “assembly,” “assemblage, gathering, meeting,” and in the earliest text, “the universal church to which all believers belong.” Thus, the very idea of Christianity after Christ suggests community. Robert Southwell trained to contribute to a very particular portion of the Christian community in Elizabethan England, but the lyric poetry he produced during this time represents community as flawed and as a potential hindrance to salvation. His poetry responds to the orthodoxy of community by representing real, lived community as spiritually counterproductive and juxtaposing it against the necessity of individual experience and salvation.
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Wright, Charles D. "An Old English formulaic system and its contexts in Cynewulf's poetry." Anglo-Saxon England 40 (December 2011): 151–74. http://dx.doi.org/10.1017/s0263675111000081.
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AbstractA group of half-lines in Cynewulf's poetry that take the form þurh + demonstrative pronoun + adjective + gesceap/gesceaft constitutes a distinctively Cynewulfian realization of a more widespread formulaic system (x X gesceaft). Only Cynewulf substitutes (in two closely similar contexts) gesceap for gesceaft, and Cynewulf consistently uses both words to refer to a specific ‘created thing’ instead of to ‘creation’. Within the system as a whole, the specific referent of gesceaft in the sense ‘creation’ (heaven, or earth, or all of creation) is often clarified by deixis, specifically in the type of demonstrative pronoun that modifies the word. Cynewulf's choice of the distal pronoun þæt likewise indicates that the apparently ambiguous referents of gesceap/gesceaft in Juliana 273b and 728a and Elene 789a are heavenly or unearthly things, and analysis of context as well as Christian-Latin analogues supports a specific identification of the referent in each case. While availing himself of an existing formulaic system, then, Cynewulf was innovative in its metrical realization as well as in its semantic application.
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Taiwo, Rotimi. "The functions of English in Nigeria from the earliest times to the present day." English Today 25, no. 2 (May 26, 2009): 3–10. http://dx.doi.org/10.1017/s0266078409000121.
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ABSTRACTThe use of the English language in Nigeria dates back to the late sixteenth and early seventeenth century when British merchants and Christian missionaries settled in the coastal towns called Badagry, near Lagos in the present day South Western Nigeria and Calabar, a town in the present day South Eastern Nigeria. The merchants initially traded in slaves until the slave trade was abolished in 1807, at which time freed slaves of Nigerian origin returned to the country. Many of them, who had been exposed to Western education and Christianity, later served as translators or interpreters for the Christian missionaries. The primary aim of the Christian mission was not to make their converts speak English; rather, it was to make them literate enough to read the bible in their indigenous languages. This must be the reason why Samuel Ajayi Crowder translated the English bible into Yoruba, the major language in South Western Nigeria.With the attainment of independence, English gradually grew to become the major medium for inter-ethnic communication. Like most African nations, the country, after independence, had to grapple with multi-ethnicity and acute multilingualism. In this article, we shall examine the expansion in the functions of English during the post-colonial period.
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Olesiejko, Jacek. "The Tension between Heroic Masculinity and the Christian Self in the Old English Andreas." Anglica Wratislaviensia 56 (November 22, 2018): 87–107. http://dx.doi.org/10.19195/0301-7966.56.7.
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The article’s aim is to elucidate the religious transformations of the secular notions of identity and masculinity in Andreas. Andreas is a religious poem composed in Anglo-Saxon England around the ninth century. It is an adaptation of the Latin recension of the Acts of the Apostle Andrew, but the poet uses heroic diction borrowed from Old English secular poetry to rework the metaphor of miles Christi that is ubiquitous in Christian literature. The poet uses the military metaphor to inculcate the Christian notion of masculinity as the inversion of the secular perception of manliness. He draws upon a paradox, attested in the early Christian writings, that spiritual masculinity is true manliness, superior to military masculinity, and that it is expressed through patient suffering and the acknowledgment of defeat. The poem inverts the notions of war and victory to depict the physical defeat of the martyr as a spiritual victory over sin and the devil.
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Abdou, Angela. "Speech and Power in Old English Conversion Narratives." Florilegium 17, no. 1 (January 2000): 195–212. http://dx.doi.org/10.3138/flor.17.012.
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Conversion is perhaps the dominant topic of Old English texts. Not only do many of the poems of Anglo-Saxon England represent large groups of heathens being converted to the Christian way of life, but they also encourage individual listeners and readers to turn back towards God after having fallen briefly away through sin. These two types of conversion, macro and micro, are similar in that they both involve a negating of all that is not Christian. Because that negation is gradual and always in need of being re-accomplished, Karl Morrison describes conversion as always being a work in progress, rather than an instantaneous transformation. Morrison argues that conversion is as much process as it is a moment of stupendous insight or absolute discovery. Rather, conversion—especially as it is represented in conversion narratives—involves constant reappraisal, and remains "part of a strategy for survival."' The macro-conversion, the instantaneous moment in which often an entire group converts, occurs in such Old English poems as Andreas, while the micro-conversion, the individual process of constant re-evaluation and re-conversion, occurs in poems such as Guthiac. The goal of both types of conversion is unity with God, an "empathetic participation in which the and 'you' bec[o]me one" (Morrison 85). This unity has two dimensions: a divine and mystical union with God and the secular and political unity of people into a Christian community. The process of both conversions involved a negotiation between Christian belief and doctrine, as embodied in biblical texts, and the application of that belief in the lives of individuals throughout what would later be called Christendom. The Anglo-Saxon use of vernacular poetry as one site of that negotiation offers an opportunity to investigate the ways in which prophetical traditions are transposed and recreated in one early medieval group of kingdoms.
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de Lange, Nicholas. "The Dream of the Poem. Hebrew Poetry from Muslim and Christian Spain, 950-1492." Journal of Jewish Studies 59, no. 2 (October 1, 2008): 353–54. http://dx.doi.org/10.18647/2824/jjs-2008.
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Philippovsky, German Y. "N. A. Nekrasov and the English pre-Romanticists (to the origins of the poetic motif of Night)." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 8–18. http://dx.doi.org/10.20323/2499-9679-2021-2-25-8-18.
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The paper investigates the literary roots of «night-motifs» in N. Nekrasov`s epic «Who is Happy in Russia?» and his «night» poems «Knight for an Hour» and «Railroad» down to English poetry of XVII–XVIII cc.: metaphysical poetry by H. Vaughan (XVII c.) and greater didactic poem by E. Young (XVIII c.). Both mythological and lyrical «night» motifs of H. Vaughan`s poetry owed to ancient folk traditions of the poet`s Motherland – Wales, with its archaic Celtic language, rituals and sacred festivals (such as Samhein). E. Young`s poem «Complaint or night thoughts on life, death and immortality» (1743–1745) is closely related to later baroque culture, stressing the night-motif in the context of the poet`s contemplation of life, death and christian immortality of human soul. H. Vaughan`s and E. Young`s «night» poetry influenced greatly the sentimentalist and preromantic trends in European poetic traditions of XVIII–XIX cc. N. Nekrasov`s main epic poem with its profound night motifs, though continuing pre-romantic European traditions of H. Vaughan and E. Young, remains greatly indigenous and rooted deeply in both folk and poetic Russian orthodox culture.
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Kucharczyk, Łukasz. "Aquatic Motifs in the Perspective of Christian Theology in the Poetry of Wojciech Kudyba." Tekstualia 1, no. 5 (December 31, 2019): 45–58. http://dx.doi.org/10.5604/01.3001.0014.4099.
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This article discusses the strategies of using aquatic motifs as evocations of Christian thought. Such imagery of water, rivers or streams has a deeper meaning, allowing an interpretation focused on theological refl ection about the setting of the poems. The analysis will be based on two poems by Wojciech Kudyba: Kowaniec and Dunajec, as well as their translations into English: The Dunajec River and The Kowaniec Stream, published in the anthology City of Memory. A bilingual Anthology of Contemporary Polish Poetry, edited and translated by Michael J. Mikoś with an introduction by Andrzej Niewiadomski. This anthology includes translations of many important contemporary authors, such as Wojciech Bonowicz, Przemysław Dakowicz, Krzysztof Koehler, Marcin Świetlicki and Tomasz Różycki.
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McKill, Larry N. "Patterns of the Fall: Adam and Eve in the Old English Genesis A." Florilegium 14, no. 1 (January 1996): 25–41. http://dx.doi.org/10.3138/flor.14.002.
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No serious scholar would argue that an Old English poem deserves critical attention simply because it constitutes such a large percentage of the surviving corpus of OE poetry. Nonetheless, I find it curious, at least, that Genesis A should receive such scant critical attention at a time in which OE scholarship on many minor works has flourished. The reason for this neglect cannot be attributed to its fragmented state, moreover, for such is the condition of many OE poems. Nor can its religious subject-matter, out of fashion for many readers, be singled out, for most OE poetry has a distinctly Christian outlook and is similarly didactic. And studies — largely unpublished dissertations — have indisputably shown that Junius’s appellation Paraphrasis does not adequately describe the poem. Furthermore, because of its length and less immediate appeal than Genesis B (which continues to receive regular scholarly attention), Genesis A is seldom taught to undergraduates and rarely to graduate students, further reducing its exposure to critical analysis.
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OFFIONG, EKWUTOSI ESSIEN. "LANGUAGE AND DISCOURSE IN NIGERIAN EDUCATION: HISTORIC IMPLICATION OF GENDER ISSUES." Society Register 3, no. 4 (December 31, 2019): 37–56. http://dx.doi.org/10.14746/sr.2019.3.4.03.
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This paper examines the influence and power of language in education in Nigeria from the precolonial to colonial and post-colonial times. This is with regards to the effect of language on gender issues within the country. Nigeria, a country on the west coast of Africa is multi-ethnic with over 150 (one hundred and fifty) ethnic groups with their different indigenous languages and cultures. As a colony of the British, the Christian missionaries who first introduced western form of education in Nigeria used the British English language as a medium of communication and subsequently with the establishment of colonial administration in the country, English language was made the official language of the country. This paper contains a critical analysis of the use of English Language in the country and its implications on communication in social and economic interactions of individuals within the various communities across the country. It argues that the proliferation of the English language was through education of which the male gender benefitted more than their female counterparts due to the patriarchal dominance in the country. The data for the study was collated from random interviews and other written sources. The research discovered that the knowledge and ability to speak fluently and write the English language had a direct influence on the socio-political and economic status of individuals within the country. The women who benefitted from this were comparatively fewer than the men due to some prevailing conditions of what could be called in the present the subjugation of women the society. Critical discourse analysis is adopted for this study. It argues that English language dependency by Nigerians shows that forms of the colonial experience is still evident and these were all initiated during the past interactions with west through the transatlantic slave trade and colonial rule. This is because discourse as a social construct is created and perpetuated by the persons who have the language power and means of communication. The Nigerian family being of a conservative orientation derives its power directly from the father who is the patriarch of the family as obtained in the traditional set up of communities and the Nigerian society in general. This has grave effect on the opposite gender
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Szmeskó, Gábor. "The History of the Poetic Mind of János Pilinszky." Hungarian Cultural Studies 13 (July 30, 2020): 98–110. http://dx.doi.org/10.5195/ahea.2020.390.
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One of the most important poets of postwar Hungarian literature, János Pilinszky’s (1921-1981) poetry represents the problems of connecting with the Other, the imprints of Second World War trauma and the struggle with God’s distance and silence. Although, unlike the case of most of his contemporaries in Eastern bloc Hungary, his poetry has been translated into several languages, he is hardly known in English-speaking countries. The metaphysically accented lyrical worldview and creator-centered aesthetics—which shows parallels with the Christian poetry of Michael Edwards—of this Hungarian poet are difficult to link or to bring into discourse. On the occasion of the most recent publication (Pilinszky 2019) of Pilinszky’s non-literary publications which are practically unknown to non-Hungarian scholars, I attempt to outline the major attributes of Pilinszky’s poetry and aesthetics in order to highlight—with a mystical approach in mind—the intertwining presence of said lyre and aesthetics in his poem, In memoriam F. M. Dosztojevszkij [‘In Memoriam F. M. Dostoevsky’].
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Russell, Jesse. "Jewish Humanism in the Late Work of Geoffrey Hill." Religion and the Arts 25, no. 1-2 (March 24, 2021): 99–124. http://dx.doi.org/10.1163/15685292-02501015.
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Abstract Throughout much of his career, Geoffrey Hill has been pilloried for his alleged conservativism as well as his positive treatment of Christianity in his poetry. A careful reading of his works, however, reveals a complex thinker who was attentive to the moral fallout of the Holocaust and the Second World War as he was a lover of England and European culture. Moreover, Hill’s writings reflect the apparent influence of a host of personalist, existentialist and what could also be called “humanist” twentieth century Jewish thinkers such as Martin Buber and Emmanuel Levinas. Throughout his poetry—especially his later work—Hill attempts (whether successfully or not) to fuse together this Jewish humanism with his own Christian and English voice.
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Morgenstern, Matthew. "Studies in Aramaic Poetry (c. 100 B.C.E.-c. 600 C.E.): Selected Jewish, Christian and Samaritan Poems." Journal of Jewish Studies 49, no. 2 (October 1, 1998): 368–71. http://dx.doi.org/10.18647/2137/jjs-1998.
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Edler, Markus. "Germanisches Karaoke." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 62–76. http://dx.doi.org/10.28937/1000107611.
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In seiner Historia ecclesiastica führt Beda Venerabilis den Beginn der englischen Literaturgeschichte und die Berufung des ersten englischsprachigen Dichters im Kontext einer Inspirationsszene vor. Der Aufsatz erklärt den verblüffenden Umstand, daß Beda statt des ursprünglichen Wortlauts eine lateinische Paraphrase des Gedichts wiedergibt, mit dem Bemühen Bedas, die nichtchristlichen Implikationen der Inspiration zurückzudrängen und die Semantik volkssprachiger Dichtung zu christianisieren. In his ›Historia ecclesiastica‹, Beda Venerabilis presents the origins of English literary history and the vocation of the first English poet within the context of non-Christian inspiration. The article argues that the irritating fact that Beda omits the original wording of the first Old English poem and gives a Latin paraphrase instead, is part of a strategy to defy the pagan implications of inspiration and to christianize the semantics of vernacular poetry.
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Caplan, Marc. "“Ooftish”: Writing, Orality, and the Specter of Yiddish in an Early Poem by Samuel Beckett." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 399–414. http://dx.doi.org/10.1163/18757405-023001026.
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This article discusses the 1938 poem “Ooftish,” Beckett's only work to use a Yiddish term. Its title derives from the expressions . The significance of these expressions, and the fact that Beckett only approximates their idiomatic usage, prompts a consideration of foreign-language titles in his early Anglophone poetry; this strategy signifies the deterritorialization of Beckett's English writing and figures the challenge of creating a poetic discourse between the abstractions of thought and the tangibility of experience. That dialectic finds resonance in the poem through a conflict between Jewish and Christian connotations of Scriptural allusion.
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Proskurina, A. V. "The Concept of Body and Soul in the Old English Tradition." Critique and Semiotics 38, no. 2 (2020): 237–55. http://dx.doi.org/10.25205/2307-1737-2020-2-237-255.
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The author examines the 10 th century ancient English poem Soul and Body through the prism of the soul, spirit and body in the Old English tradition, which has survived in two versions. The first, which was part of the poetry book Exeter Book, is a short version of the conversion of the unfortunate soul to the flesh. The second version is an expanded version of the poem, listed in the Vercelli Book along with Christian sermons and poems, also represents the con- version of the tormented soul to the flesh, as well as a monologue of the saved soul. However, unfortunately, the speech of the redeemed soul was not fully preserved due to damage to the Vercelli Book collection. This article provides an author's translation of the second version of the poem. The article focuses on the dualism of René Descartes. Thus, an extended version of the Old English poem Soul and Body precedes the dualism of René Descartes, whose main ideas are the duality of the ideal and the material, the independence of the soul and body. The philosophy of René Descartes is to accept a common source – God as the creator who forms these two independent principles that we find in this poem. The spirit, as shown in the work, is the divine principle in man, created in the image and likeness of God, and appears as the highest part of the soul, and the soul, in turn, is the immortal spiritual principle. In the framework of the Judeo- Christian culture, a central doctrine of the presence of the soul arose, suggesting the elevation of man over all other living beings due to the presence of it. According to religious ideology, a person’s position in the dolly and mountain worlds directly depends on the purity of the believer’s soul, on his refusal from sinful thoughts and deeds. As soon as the Judeo-Christian teaching is fixed as the main religion, a person endowed with a soul is considered as the only ration- al creature created in the image and likeness of God. The existence of the soul is not limited only to the Judeo-Christian idea of the world around us, for example, the Quran also contains the idea of the unity of man and soul, and, undoubtedly, the soul of a righteous Muslim ascends to heaven after death.
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Chapman, Alison. "INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 595–608. http://dx.doi.org/10.1017/s1060150314000163.
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“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-century Bengali who was a Europhile, a Christian convert, and an English-language woman poet within a British Victorian tradition is a simplistic, if not a problematic appropriation of a colonial subject into the centre of the British Empire. Where Dutt belongs has long preoccupied critics who try to recuperate her poetry for an Indian national poetic tradition, or for a transnational, cosmopolitan poetics. The issue of placing Dutt allows us also to press questions about the conception of Victorian poetry studies, its geographical, cultural, and national boundaries, not just in the nineteenth-century creation of a canon but in our current conception of the symbolic map of Victorian poetry. But, while recent critics have celebrated her poetry's embrace of global poetry as a challenge to the parochialism of national literary boundaries, Dutt's original English-language poetry also suggests an uneven, uncomfortable hybridity, and a wry, ironic interplay between distance and proximity that unfolds through her use of poetic form. This essay investigates what it means to “make something” of Toru Dutt, in the nineteenth century and in the twenty-first century, what is at stake for Victorian poetry studies in privileging Dutt and her multi-lingual writing, and whether her celebrated transnationalism might not also include a discomfort with hybridity that reveals itself through the relation between space and literary form in her poetry.
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Kuchar, Gary. "Introduction: Distraction and the Ethics of Poetic Form in The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 4–23. http://dx.doi.org/10.1177/0148333116677454.
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The formal dimensions of George Herbert’s poetry, including prosody and assonance, bear important ethical and spiritual significance. This is especially true in lyrics dealing with the problem of distraction, a crucial concept in 17th-century religious culture and one with a range of historically and theologically discrete meanings. The formal strategies Herbert deploys in lyrics about distraction proved particularly consequential for subsequent poets in the period, especially those writing in the wake of the English Civil War such as Henry Vaughan. For Vaughan, as for Herbert, distraction is a somatic, social, and spiritual problem that touches on the very essence of what it is to be a fully mature Christian.
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Piasta, Ewa Anna. "Metaphysical Aspects of Rose Ausländer’s Poetry." Respectus Philologicus 22, no. 27 (October 25, 2012): 103–14. http://dx.doi.org/10.15388/respectus.2012.27.15340.
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This article analyzes six poems by Rose Ausländer, a poet of Jewish origin, who lived in the years 1901–1988. She was born at Chernivtsi (then in the Austro-Hungarian Empire), and died in Düsseldorf (Germany). Ausländer wrote in German and in English. The aim of this paper is to discuss the metaphysical aspects of Ausländer’s poems and to demonstrate that these aspects are manifested on the semantic, lexical and axiological levels. My interest is in the spiritual experience evoked by her poetry, resulting from a transcendence-and Absolute-oriented existence, experienced in terms of mystery. Another objective is to determine whether the said metaphysical experience receives religious specification. The ergocentric method, as proposed by Zofia Zarębianka in her research into the sacred in literature, is based on the assumption that this phenomenon is inherent in the text itself and can thus be investigated without referring to external circumstances or searching therein for itsorigins. This allows for a greater concentration onthe very phenomenon of the sacred as present ina literary text.The analysis of the poems shows that references to God the Creator tend to be frequent, and that human participation in the act of creation is repeatedly stressed. The speaker assumes a posture of dependence on, respect for and admiration of the Absolute. Significant to the spiritual dimension of this poetry is seeing material reality and the affairs “of this world” in eschatological terms. Ausländer’s poetry reveals a system of Bible-based beliefs, such as those concerning the love for one’s neighbour. An adequate reading of the meanings evoked in Ausländer’s lyrical texts becomes possible when the Bible is seen as the prototype of the lyrical situations presented in her poems. The primacy of spiritual meanings, as well as the search for identity, eternity, fullness and the creative powers of God, become clear indeed. The religious vocabulary of the poems under discussion is rather poor. Instead, it is axiological references and allusions to Biblical fragments, such as psalm verses, that construct the poems’ metaphysical aspects. These are then made more specific with the use of notions typical of the Judeo-Christian tradition.
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Stanley, E. G. "Garde, J. N., Old English Poetry in Medieval Christian Perspective. A Doctrinal Approach. Pp. [xiii+] 232. Cambridge: D. S. Brewer, 1991. £35.00." Notes and Queries 42, no. 2 (June 1, 1995): 227–28. http://dx.doi.org/10.1093/notesj/42.2.227.
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Nwachukwu–Agbada, J. O. J. "Ezenwa–Ohaeto: Poet of the Genre." Matatu 33, no. 1 (June 1, 2006): 153–77. http://dx.doi.org/10.1163/18757421-033001027.
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Ezenwa–Ohaeto was a poet of immense artistic vision. He was a conscious member of the Nigerian and African polity and a perspicacious user of the African oral tradition, particularly the Igbo afflatus/affiliation of it. A poet of ideas and style, Ezenwa–Ohaeto was to adopt principally as his stylistic tool the Igbo traditional genre of satire called In this essay, effort has been made towards identifying his use of the mode in terms of what he took from it and what in turn he gave to African poetry. It is demonstrated that Ezenwa–Ohaeto utilized satire to draw attention to the ills in the land. While he did so, he used the humour in to smoothe his way through. Although he was regularly concerned with the fate of fellow nationals, he did so light-heartedly, combining the use of airy Igbo iconic figures with mediated English and pidgin variety. Ezenwa–Ohaeto thus left behind an original, captivating and enchanting poetic tradition
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Salma, Umme. "English Literature from the Other Perspective: A Thought and an Approach." IIUC Studies 9 (July 10, 2015): 261–78. http://dx.doi.org/10.3329/iiucs.v9i0.24031.
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English Literature as the knowledge of the former master is an exclusively challenging discipline to be focused from the Other perspective, from Muslim perspective, one among many Others. It is a bellicose field because in the postcolonial world its presence reminds of the colonial past, and declares the continuance of the myriad ideological projections and paradigmatic speculations of that past in the neocolonial form. Still postcolonial Indian Muslim societies are promoting and propagating English knowledge in every stage of educational institutions, and thus creating a culturally hybrid/syncretic nation which can neither accept Englishness entirely nor reject its own cultural inheritance and realities totally. Whereas other postcolonial nations can approve, accept and accelerate the mixed-up jumbled cultural syncretism gradually losing or conforming their native cultural signifiers with Western culture, Muslims cannot because the ideology and approach to life of Islam are straightly opposite to the English knowledge, emanated from the Judeo-Christian and Greco-Latin cultural heritage. Keeping in view the aforementioned ideas, the paper argues that this is high time to review this epistemological crisis from historical set up and to read English literature from the Other point of view. Therefore, it proposes some ways to re-read the English canonical compositions and puts forward as specimen the re-reading/teaching method of ENG: 2420, titled English Poetry: 17th &18th Centuries from the undergraduate syllabus of IIUC.IIUC Studies Vol.9 December 2012: 261-278
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Russell, Jesse. "Edmund Spenser’s Ancient Hope: The Rise and Fall of the Dream of the Golden Age in The Faerie Queene." Explorations in Renaissance Culture 44, no. 1 (March 28, 2018): 73–103. http://dx.doi.org/10.1163/23526963-04401004.
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In the later twentieth and early twenty-first centuries, a debate has rumbled over the sources and significance of Platonic and Neoplatonic motifs in Edmund Spenser’s poetry. While this debate has focused on the presence (or absence) of various aspects of Platonism and/or Neoplatonism, critics have largely ignored the hints of magic derived from Neoplatonism. Through the probable influence of John Dee, Marsilio Ficino, and Giordano Bruno as well as Spenser’s own wide-ranging and particular reading, The Faerie Queene makes it evident that the English poet found himself attracted to an ancient hope in the restoration of a Golden Age that would be inaugurated by a great monarch. However, by the end of the poem, Spenser has largely lost faith in the restoration of this Golden Age; what he has uncovered along the way forces a retreat to Christian hope in his personal salvation.
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Calcagno, Julian. "The value of weoro: A historical sociological analysis of honour in Anglo-Saxon society." Journal of the Australian Early Medieval Association 17, no. 1 (2021): 43–65. http://dx.doi.org/10.35253/jaema.2021.1.3.
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The values that underpin the Anglo-Saxon concept of honour changed at the beginning of the sixth century. During this period, Anglo-Saxon kingdoms enshrined a new era of cultural and religious fervour, inculcating new practices of honour among the new Christianised Anglo-Saxon elite. This paper demonstrates the transition from pagan to Christian honour systems. Historians have often examined honour through concepts based on comparisons or 'terms of art', for example 'Bushido' in Japan, 'Futuwwa' in Islam, and 'chivalry' in Christianised later-medieval Europe. This paper emulates these examples by examining honour in Anglo-Saxon society through use of the Old English term weoro, an under-studied phenomenon. Unlike Bushido or chivalry, weoro does not imply a mandated way of living. Weoro is instead pervasive, encompassing many modes of Anglo-Saxon life: poetry, giving- and -receiving, burial, kin, and bestowing honours. This paper combines sociological analysis with historical evidence.
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Bammesberger, Alfred. "Proverb from Winfrid’s Time and Bede’s Death Song: Some Textual Problems in Two Eighth-Century Poems Revisited." Anglia 138, no. 2 (June 4, 2020): 259–76. http://dx.doi.org/10.1515/ang-2020-0022.
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AbstractThe sequence Oft daedlata domę foręldit (four words) in the Old English Proverb from Winfrid’s Time (ProvW, 1) defies grammatical analysis because foręldit ‘delays’ requires an accusative object. It is proposed to read Oft daed lata domę foręldit as five words, with daed (= dǣd) ‘deed’ functioning as direct object. This suggestion does not require any emendation because word division in Old English is by no means regular and there is some space between daed and lata in the manuscript anyway. The dative forms domę and gahwem (2a) function as instrumentals, with gahwem perhaps subordinated to domę. The meaning of the simplex lata lies in the area of ‘late-comer’, but ‘sluggard’, ‘laggard’ or other derogatory terms are not suitable. With regard to its genre, ProvW may be viewed in conjunction with Bede’s Death Song (BDS). The vocabulary of BDS presents some problems, but, above all, the construction of the five verse-lines is not totally clear. It is proposed that the comparative thoncsnotturra (2a) has absolute function, and that the adverbial than (2b), meaning ‘then’, introduces a fresh clause. ProvW and BDS may belong to a larger group of self-contained texts no longer extant. In a wide sense they represent the category of Wisdom Poetry in a Christian context.
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Haarder, Andreas. "Det umuliges kunst." Grundtvig-Studier 37, no. 1 (January 1, 1985): 87–89. http://dx.doi.org/10.7146/grs.v37i1.15945.
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The Art of the ImpossibleA Grundtvig Anthology. Selections from the writings of N. F. S. Grundtvig.Translated by Edward Broadbridge and Niels Lyhne Jensen.General Editor: Niels Lyhne Jensen. James Clarke, Cambridge & Centrum, Viby 1984.Reviewed by Professor Andreas Haarder, Odense UniversityHow can Grundtvig ever be translated? Professor Haarder considers it well-nigh impossible, which does not mean, however, that the attempt is not worth making. But he has some criticism of various things which need correcting for a later edition. In particular the translation of the words folkeh.jskole and Norden and the use of different terms for the same concept. He would prefer “folk high school” and “the North”, “Nordic” or “Norse”, and he thinks that the word “Scandinavia” should be avoided. The reason is that it is difficult to understand what a folk high school actually is, and that the Nordic past for Grundtvig included the English. The term “folk high school” is used elsewhere, for example in the Danish Institute’s book on Grundtvig. Professor Haarder praises the idea and the planning of the book, but he also notes too many printing errors and deficiencies in the notes.In Haarder’s opinion the most successful translations are of the sermons and the simplest songs. The selection from Norse Mythology reads well in English, which surprises him somewhat because of Grundtvig’s very intricate style. Some of that inspiration is missing from The School for Life, in both the original and the translation, but the text is pioneer work and worth including. As “a particular type of prose” he finds the extracts from Elementary Christian Teachings also readable in English. With regard to the poetry, he agrees with the editor that “It has not been Grundtvig’s good fortune to find a translator who combines a grasp of his vision with a gift of imagery matching his.” Andreas Haarder ends with a word of thanks for the step that has been taken with this anthology of Grundtvig in English.
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Akanbi, Grace, and Alice Jekayinfa. "History education in Nigeria: Past, present and future." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 2 (May 6, 2021): 73–89. http://dx.doi.org/10.52289/hej8.204.
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Before and after the introduction of western education to Nigeria by Christian missionaries, the teaching and learning of history was given pride of place, although the contents of school history privileged the Bible and English history by celebrating the importance of the arrival of the colonial powers with their religion. This position, indeed this narrative, was challenged and contested by Nigerian nationalists even before 1960. Therefore, the need to overhaul the curriculum content arose after independence in October 1960 which led tothe organisation of the 1969 Curriculum Conference. Part of the outcome of the conference was the emergence of the first Indigenous education policy in 1977. However, in 1982 History was delisted from the basic school curriculum and retained only as an elective subject in the Senior Secondary school. The outcry from stakeholders since then (over thirty years) recently reached a crescendo and has yielded a positive change, as History was reintroduced into the school curriculum in the 2018/2019academic session. This paper, therefore, addresses the following questions, with recommendations on how the study of History might be promoted at all levels of education in Nigeria: What was the position of history education in the past? Why was it delisted from the basic school curriculum? What were the consequences of the delisting? How did it find its way back into the basic school curriculum? After reintroduction, what next?
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Sherwood, Yvonne. "Grammars of Sacrifice: Futures, Subjunctives, and What Would Have/Could Have Happened on Mount Moriah?" Biblical Interpretation 25, no. 4-5 (November 15, 2017): 519–54. http://dx.doi.org/10.1163/15685152-02545p05.
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In A Biblical Text and Its Afterlives, published seventeen years ago (unbelievably), I looked forward to what would become a significant turn back towards the biblical texts’ past futures. In this paper, I look at the density of futurity and modality in these past futures. The sacrifice of Isaac reaches beyond itself into the space of the subjunctive, the optative, the cohortative, poetry and prayer. Drawing on Nietzsche’s and Steiner’s intuition that the uniqueness of the human lies with the grammars of the future and the promise, I revive the memory of lost Christian texts in Greek, Syriac, Coptic and Middle English that show, clearly, that the akedah does not just have a long and obsessive history, but a dense and long history of longing. If ‘every human use of the future tense of the verb “to be” is a negation, however limited, of mortality’ (so Steiner), then the fundamental structure of human grammar is sacrificial. In the modest sacrifices of modality, we give up and, in a sense, negate what is in order to make plural possibilities, myriad lives, more and less substantial. As Abraham offers up one son and gets a heavenful of sons, so modality offers up or qualifies or pluralises what is in order to make new possible lives: those that were, that could have been; and those that might yet live or live again.
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Wigh-Poulsen, Henrik. "Digteren og den sandheds ånd. Grundtvigs helligåndsteologi og den engelske romantik." Grundtvig-Studier 42, no. 1 (January 1, 1991): 68–85. http://dx.doi.org/10.7146/grs.v42i1.16059.
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The Poet and the Spirit of Truth. - Grundtvig’s theology of The Holy Spirit and the English RomanticismBy Henrik Wigh-PoulsenLike his English contemporary, the romantic poet William Wordsworth, Grundtvig sees himself as belonging to the elect company of poet-prophets, the gifted and visionary seers, who by means of their imagination, are capable of reading God’s signature in nature.But in spite of this shared romantic trait there is a marked difference between Wordsworth and Grundtvig in their shared predilection for the windmetaphor. Whereas Wordsworth’s inspiring, creative .gentle breeze., according to the literary critic M.H. Abrams, is a distant secularized and naturalized relative to The Holy Spirit, Grundtvig’s .spiritual waft. is the rushing wind of the Pentecost itself. It is this ‘Spirit of Truth’ that descends on nature and in nature bears witness to the paradisal; but also, at the same time, qualifies the poet as a true, Christian poet.As a poet-prophet committed exclusively to The Holy Spirit, Grundtvig becomes a rather isolated figure, vulnerable to his own doubt, whether he, in his poetry, is truly inspired or just the victim of his own private and deceitful imagination. Repeatedly he confronts himself with this doubt, repents, states his unworthiness and finally settles with the conviction, that, in his poetic vocation, he is elected by the Spirit itself.‘The Unparalleled Discovery’, however, seems to cause a growing poetic and prophetic self-confidence in Grundtvig’s writings. His newly gained sense of a real, historical foundation of the church diminishes his desperate sense of isolation and fear of haughtiness and subjectivity, and it enables him to speak louder and more freely in the service of the Spirit. Finally, as the community of Grundtvig, the poet-prophet, emerges as a real, living and visible community, his anxiety of his imagination polluting the .spiritual waft., disappears, and as a fullgrown romantic poet and hymnwriter he gives himself fully to the breath, the waft, the mighty rushing wind of the Pentecost.
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Nowak, Helge. "CHRISTIAN HABEKOST, Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry. [Cross/Cultures: Readings in the Post/Colonial Literatures in English; 10]. (Amsterdam/Atlanta: Editions Rodopi, 1993). 262 pages, Hfl. 75.00, US$ 44.00." Matatu 12, no. 1 (April 26, 1994): 227–29. http://dx.doi.org/10.1163/18757421-90000106.
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NOWAK, HELGE. "CHRISTIAN HABEKOST, Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry. [Cross/Cultures: Readings in the Post/Colonial Literatures in English; 10]. (Amsterdam/ Atlanta: Editions Rodopi, 1993 ). 262 pages, Htl. 75.00, US$ 44.00." Samuel Beckett Today / Aujourd'hui 12, no. 1 (December 8, 2002): 227–29. http://dx.doi.org/10.1163/18757405-90000146.
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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (January 1, 1992): 67–92. http://dx.doi.org/10.7146/grs.v43i1.16076.
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Grundtvig and the Latin Hymns - A Theological PerspectiveBy Lars ThunbergA number of scholars have devoted attention to Grundtvig’s hymns, as they are represented in his magnificent Sang-Værk. The hymns form a kind of corona of Christian poetry, intended for the congregation to use in its worship and outside the church. A number of them are congenial renderings of hymns from other traditions: the Greek, the Latin, the Anglo-Saxon, beside the Lutheran. As far as the Greek and the Latin material is concerned, Jørgen Elbek, the literary historian, has made a remarkable contribution. This article follows up Elbek’s intentions.In his Sang-Værk Grundtvig follows the principle that his collection of hymns should reflect what is given - to Christendom as a whole, and the Danish congregation specifically - through the seven historical traditions: the Hebraic, the Greek, the Latin, the English, the German, the Nordic (= Danish) and possibly a seventh, not yet fully discovered. Theoretically Grundtvig develops this idea in his late work Christenhedens Syvstieme, where an Indian congregation is indicated as the seventh one. Elbek has shown that - against this background - Grundtvig wanted to give to the Danish Church a collection of hymns, expressing the unison hymnody of the present day Danish congregation..Among the classical traditions, the Latin ‘congregation’ occupies a particular place. This particularity, however, is a problem to Grundtvig at the same time. Elbek has underlined that Grundtvig was aware of the fact that no Christian is basically able to speak on behalf of the universal Church. Thus, this is also true of Grundtvig himself in his translation/rendering of Greek or Latin hymns. His translation of them into present-day Danish involves a contextualisation, which means that they are at the same time felt to be close and familiar as well as distinct from their original setting. They become songs of praise, integrated into the Danish contemporary situation.However, it is characteristic of Grundtvig that he is very faithful to his Latin originals (which he studied in different versions and very carefully), and at the same time feels free to render them according to his own understanding of what is of importance to his own Danish Church. This combination of faithfulness and freedom is a genuine expression of Grundtvig’s unique ability as a hymn writer. He uses it to express his very personal feeling of what is - as a matter of fact - universal Christian belief.In the article these principles of Grundtvig are illustrated through a short analysis of his rendering of the following 14 Latin hymns: Conditor alme siderum, Veni redemptor gentium, Puer natus in Bethlehem, Vexilla regis prodeunt, Salve crux arbor, Stabat mater dolorosa, Salve mundi salutare, Mane prima sabbad, Mundi renovatio, Zyma vetus expurgetur, Laus tibi Christi, Beata nobis gaudia, Urbs beata Ierusalem and Pange lingua gloriosi.
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Rubiés, Joan-Pau. "Tamil Voices in the Lutheran Mission of South India (1705-1714)." Journal of Early Modern History 19, no. 1 (December 19, 2015): 71–81. http://dx.doi.org/10.1163/15700658-12342439.
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The English edition of the Bibliotheca Malabarica, a manuscript catalogue of the Tamil works collected by the young Lutheran missionary Bartholomäus Ziegenbalg during his first two years in India (1706-8), attests to his prodigious effort to acquire, read, and summarize all the works of the “heathens” of South India that he could possibly get hold of. Most of this literature seems to have originated from local Śaiva mattams. Besides epics and puranas, the collection included many popular works on ethics, divination and astrology, devotional poetry, or folk narratives and ballads. Ziegenbalg seems to have acquired these through his Tamil teacher in Tranquebar—an elderly schoolmaster—and his son. In this respect, a focus on the social and cultural dynamics by which local knowledge was transmitted to Europeans is no less important than identifying the literary sources for their interpretation of Hinduism. A fascinating work, the Tamil correspondence conducted between 1712 and 1714 by the Lutheran missionaries with a number of learned Hindus reveals their desire to embark on a kind of inter-religious dialogue as a foundation for their Christian apologetics. The replies received from his “heathen” correspondents would inform much of Ziegenbalg’s interpretation of Śaivism as a form of natural monotheism. Translated into German and published in Halle, they also became part of the Pietist propaganda concerning the mission, exerting a much wider impact than Ziegenbalg’s unpublished monographs about Hindu doctrines and theology. But how authentic were these Tamil voices? Close analysis suggests that even if we conclude with the editors that the letters were what they claim to be, that is a direct translation of the work of many independent Tamil correspondents, the extent to which there was a religious “dialogue” based on reciprocity is open to question.
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Lundgreen-Nielsen, Flemming. "Grundtvigs nordisk-mytologiske billedsprog - et mislykket eksperiment?" Grundtvig-Studier 45, no. 1 (January 1, 1994): 142–98. http://dx.doi.org/10.7146/grs.v45i1.16146.
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Grundtvig ’s Norse Mythological Imagery - An Experiment that Failed?By Flemming Lundgreen-NielsenSince his early youth, Grundtvig worked frequently and diligently with Norse mythology. From 1805 to 1810 he tried in a scholarly way to sort out its original sources and accordingly its ancient meanings, though Grundtvig even as a philologist preferred to give spontaneous enthusiasm aroused by a synthetic vision a priority above linguistic proofs (Norse Mythology, 1808). After a pause of some years, Grundtvig in 1815 returned to Norse mythology, allowing himself a more free and subjective interpretation in lieu of an all-encompassing conception. From now on aiming to turn the Norse myths into an accessible store of modeme national imagery, he adapted a favourable evaluation of Snorri’s Edda, which until then he had been regarding as late, distorted information.Drawing mainly upon previously unprinted material the paper demonstrates, how Grundtvig around 1820, 1832, in the 1840’s and during the Schleswig-Holstein war 1848-50 tried to revive Snorri’s Edda for actual commonday use. To put Grundtvig’s opinions in a historical perspective, other contemporary statements are included, such as a Copenhagen press and pamphlet feud on the potential usefulness of Norse mythology to sculptors and painters (1820-21) and a public lecture in favour of Greek mythology and Christian civilization given by professor Madvig (1844).Grundtvig’s own attempts to mobilize the Norse gods in current affairs are illustrated in selected examples from his poetical works. The conclusion indicates that his project was a failure: none of his ballads and poems popular then and today deal with Norse mythology, and although his Norse Mythology, 1832, became a handbook for teachers of the Folk Highschools, neither later poets nor philosophers employed the Norse mythological imagery he recommended. In the war 1848-50 Grundtvig wanted to take advantage of situations from myths and legends such as Thor battling the giant Hrungnir and prince Uffe the Meek killing two Saxons, but the majority of the Danes cherished heroes of the people such as the brave unknown army soldier celebrated in a 1858-statue and the little homblower from a bestselling verse epic. At the end of his life, Grundtvig continued to write poetry in Norse mythological terms, but apparently made no efforts to get his manuscripts printed - why is not known.Among the reasons to be suggested for the failure of Grundtvig’s Norse mythological imagery, the victorious ideas in Romantic 19. century poetry and arts pertaining to originality and individualism, the prominent place of traditional classical mythology in the minds of the cultured public, and the political emphasis in the mid century period on democratization are probably most decisive.Finally attention is given to the fact that the proverbial phrase about ’freedom to Loki as well as to Thor’, the only surviving popular dictum from Grundtvig’s Norse mythological writings, almost invariably is misunderstood to be a token of boundless tolerance to both parties in the struggle between good and evil. However, several instances can be mentioned to prove that Loki, mythologically half god, half giant, in Grundtvig’s understanding does not represent evil as much as a gifted intellectualism without religious faith, possessing potential to acquire it.An English version of the paper with less regard to quotes from unprinted Grundtvig manuscripts and more attention to introductory paragraphs on Danish literary history is published in Andrew Wawn (ed.): Northern Antiquity. The Post-Medieval Reception of Edda and Saga, Hisarlik Press, 1994, p. 41-67.
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Шарма Сушіл Кумар. "Why Desist Hyphenated Identities? Reading Syed Amanuddin's Don't Call Me Indo-Anglian." East European Journal of Psycholinguistics 5, no. 2 (December 28, 2018): 92–107. http://dx.doi.org/10.29038/eejpl.2018.5.2.sha.
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The paper analyses Syed Amanuddin’s “Don’t Call Me Indo-Anglian” from the perspective of a cultural materialist. In an effort to understand Amanuddin’s contempt for the term, the matrix of identity, language and cultural ideology has been explored. The politics of the representation of the self and the other that creates a chasm among human beings has also been discussed. The impact of the British colonialism on the language and psyche of people has been taken into account. This is best visible in the seemingly innocent introduction of English in India as medium of instruction which has subsequently brought in a new kind of sensibility and culture unknown hitherto in India. Indians experienced them in the form of snobbery, racism, highbrow and religious bigotry. P C Ray and M K Gandhi resisted the introduction of English as the medium of instruction. However, a new class of Indo-Anglians has emerged after independence which is not different from the Anglo-Indians in their attitude towards India. The question of identity has become important for an Indian irrespective of the spatial or time location of a person.
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