Academic literature on the topic 'Contextual song'

AbstractThis research is entitled An Analysis of Figurative Language in Taylor Swift's song lyrics it aims to know the types of figurative language that are used in Taylor swift lyrics and describe the contextual meaning of the figurative language used in Taylor's lyrics. The research data is obtained from two songs from one albumof Taylor Swift. The album titled Red with three songs taken entitles Red and 22. This research uses descriptive qualitative method in observation and library research in collecting data of this research. Figurative language found consists of simile, metaphor, hyperbole, paradox, irony and personification. In this research, these findingsshow that hyperbole is the most dominant in Taylor Swift’s song and based on the contextual meaning of overall song lyrics of Taylor Swift tell about conflict, pain heart and deeply treachery.Keywords: song, lyric, figurative language, contextual meaning

This research is aimed at describing contextual meaning in the song lukah gilo of Tebo Regency society Jambi city. This research is qualitative descriptive. The data is the lyric of lukah gilo song of Tebo regency society Jambi city (Hermeneutics structural). Meanwhile the technique of collecting data is observation, interview, and recording. The result of this research shows the description of how contextual meaning in the song lukah gilo of Tebo regency society Jambi city (hermeneutics structural), they are: (1) Contextual meaning on the song lyric of lukah gilo related with lexical meaning, (2) Contextual meaning which is related with situational context (place and time), (3) Contextual meaning which is related with belief, (4) Contextual meaning which is related with animism, (5) Contextual meaning which is related with faith. The contextual meaning in the song lukah gilo consists of 72 lines and dan 11 verses.

the study investigates contextual and musical factors that incite audiences in Western music entertainment venues to sing along to pop songs. Thirty nights of field research were carried out in five entertainment venues across northern England. The percentage of people singing along was recorded for each of the 1,054 “song events,” serving as the dependent variable. In addition, musical analysis was carried out on the songs of a subset of 332 song events. Nine contextual factors as well as 32 musical features of the songs were considered as different categories of explanatory variables. Regression trees and a random forest analysis were employed to model the empirical data statistically. Results indicate that contextual factors can account for 40% of the variability in sing-along behavior, while adding musical factors into the model – in particular those relating to vocal performance – was able to explain about another 25% of the variance. Results are discussed with respect to theoretical approaches on neo-tribal behavior.

As is typical of the metaphorical nature of poetry, the Song of Songs describes sexual activities indirectly, without giving any explicit references. As a result, interpreters often hesitate to define the exact practices portrayed in any given verse. For example, both Song 2:16 and 6:3 describe the male lover as “he who grazes among the lotuses.” Many scholars read these verses as some type of sexual activity, but do not specifically define the action. Using comparative evidence from Egyptian and Sumerian love poetry, as well as contextual analysis of these verses within the Song as a whole, I argue that these verses depict a particular type of love-making, cunnilingus. According to my reading, Song 2:16 and 6:3 focus exclusively on the sexual pleasure of the two partners, disregarding other potential benefits of sexual intercourse, such as reproduction, giving us a rare glimpse into a particular sexual practice in ancient Israel.

Lyrics in song are intended to send a message to the audience or music lovers. Composers use figurative language as the media to convey their message. One of the figurative languages that is mostly used in song’s lyrics is Metaphor. This study was intended to investigate the types of metaphor used in One Direction Album. The objective of this study to identify the types of metaphor found in the song lyrics and to analyze metaphor meaning in One Direction song. This study adopted a descriptive qualitative research design. Three songs by One Direction had been chosen as the data of this study; Story of My Life, Steal My Girl and Drag Me Down. The data were analyzed its metaphor by using Lakoff and Johnson theory, while in investigating the meaning, Chaer’s theory of contextual meaning was used. The result of the study showed that based on the three types of metaphor, structural metaphor becomes the most frequently used in the song lyrics, meanwhile 2 of 3 songs used all of the three types of metaphor; Orientation, Structural and Ontological Metaphor. In answering the second research question about the meaning of each metaphor, each lyric has been analyzed through content analysis to know the true meaning of what the song writer want to express in his/her lyrics and each lyric has different contextual meaning which is elaborated further in this study. Keywords: Metaphor, Meaning, One Direction’s Album

Figurative language is the ways to show the writer’s thought use the special word, which have hidden meaning of it. This research analyzed Celine Dion’s songs, they are Fly and Falling into You. The objectives of this research are to find out the types of figurative language and meanings of the figurative language in Celine Dion’s songs. The writers take two songs from this album, they are Fly and Falling into You. The method of this research was qualitative descriptive. The data were taken from Genius.com website. Figurative language that the writers found in this research were six metaphors, two symbolisms, two imageries, two similes and one personification. In the Fly song there were four metaphors, and one symbolism. Besides in the Falling into You song there were two metaphors, one symbolism, two imageries, two similes, and one personification. The writers found the hidden meaning of these two songs. The Fly song told about parents who express deep sadness at the loss of her child. While, the Falling into You song told about someone who show his/her felling to someone they loved.Keywords: Figurative Language, Song Lyrics, Contextual Meaning

The song "Under the Same Sun" firstly released in 1993 is a song written by famous rock group music namely Scorpions. This group is coming from Hannover, Germany. Though renowned phenomenally as a music group with loud genre but this song is a ballad one because it really tells the story of real-life people in the war zone while citizens of the world just show a little caring concern. The song portraits a common view on the hopelessness of victimized people in war zone who need for sympathy and empathy. Otherwise, they get no positive response from other people who live in comfort. This paper is a library research with a descriptive qualitative approach to investigate the discourse analysis of a song lyric. The approach is then used to analyze the data from the song lyrics. The discourse aims at finding the discourse on its grammatical aspect, lexical aspects, situational aspect, and contextual aspect. The study’s discourse analysis on the song lyrics reveals several features. From the grammatical aspect of this song revealed the references in the form of pronoun and demonstrative, ellipsis and conjunction. While in the lexical aspects, it found only two components, namely reps and collocation. The contextual analysis showed the cultural context and the context of the situation. Meanwhile, the situational context itself is divided into physical context, epistemic context and social context.Keywords: Grammatical Aspect, Lexical Aspect, Contextual Aspect

AbstractThis essay argues for a contextual exegetical reading of the servant songs in Second Isaiah. By reading the songs in the literary context of references to the "second exodus" and hymns of celebration, several conclusions can be drawn. There are three servant figures in the four servant songs: one servant (Israel) in need of redemption, one servant (Second Isaiah) who proclaims redemption, and one servant (the Messiah) who procures redemption. This servant of the fourth song is not the prophet himself or Israel but a servant figure whose sacrifice will break the yoke of Babylon.

Individuals use language as a means of communication everywhere and at all times. In today's world, figurative language is often encountered in everyday life, such as in song lyrics. Figurative language is a way of describing something without saying it directly. This research aims to investigate the figurative languages found in the lyrics of the song "Grenade" by analyzing their context and attempting to decipher their meaning. The data tool is song lyrics found on the internet, and the research approach is descriptive qualitative analysis. The results revealed that this album employs figurative language such as metaphor, hyperbole, and repetition. Furthermore, the most figurative words used in the lyrics is hyperbole. Each figurative language's contextual sense is often clarified in relation to the lyric's situation. Keywords: Figurative Language, Song lyrics, Contextual Meaning

This ethnographic study of a Scottish singing family, the Fishers of Glasgow, is based largely on fieldwork conducted over a period of three years. The Fishers were chosen because of their early involvement in, and their enormous influence on, the Scottish folk revival, which dates from the 1950s. Three members of the Fisher Family, Archie, Ray, and Cilia, sing professionally, and perform both traditional folksongs and contemporary material. This study focuses on them, although commentary about and from other family members is also included. In Chapter 2, I present a biography of the family, which is a patchwork of oral accounts by family members. Their biography leads us back to the islands of Vatersay and Barra, and the island traditions have obviously shaped the family ethos, even though they are an urban family. Chapter 3 is in part an oral history of the folk revival in Scotland, and the emergence of Archie and Ray Fisher as performers in the revival, as well as an analysis of important musical personalities and currents which had an impact on the revival, and particularly on Archie and Ray Fisher. Chapter 4 examines the professional careers of Archie, Ray, and Cilia, as well as the involvement of sisters Joyce, Cindy, and Audrey in the revival. The repertoire of the Fishers is examined in Chapter 5, with reference to the patterns of repertoire in the Scottish folk revival, and traditional sources. The way in which Archie, Ray, and Cilia categorize their songs is considered. Their categories, such as "heavy songs" and "light songs" tend to reflect the emotive impact of a song in performance, rather than structure. The problem of song "ownership" and repertoire within a family is also dealt with here. Chapter 6 focuses on the "aesthetic systems" of Archie, Ray, and Cilia, considering the following components: attraction to and selection of songs for learning; relative importance of tune and text; preferred song content; degree of emotional identification with songs; suitability of voice for a particular song; singing style; vocal range; the choice to accompany or not; the desired impact of the singer on the audience; the performing venue; and self-imposed expectations. The Fishers' aesthetic systems are also compared with those of other singers, both traditional and revival. In Chapter 7, I discuss the functions of songs in the Fishers' public performances, and analyse transcribed performance extracts of Archie, Ray, and Cilia (performing with her husband Artie). The spoken portion of the performances is seen as a significant and integral part of the performance as a communicative event. Analysis focuses on the structure of the performance, how the performance reflects the individual aesthetic system, and what levels of meaning may be derived from the performance. In Chapter 8, I conclude with a brief summary, and assess the place of the Fishers in the Scottish folk revival. Other data on the Fisher family, such as repertoire lists, a discography, and transcribed performance extracts may be found in the Appendices.

The aim of this essay is to investigate the presence or non presence of a concept of teaching practice in high school classrooms. This concept which purpose is to improve the teaching practice in foreign language classrooms, is developed by researches in the Netherlands (Hajer & Meestringa, 2010). The main idea of the concept is to increase the interaction between the students and to ensure a high use of contextual and linguistic support from the teacher. The first research question is thereby whether this concept is present, and if so, to which extent, in five different foreign language classrooms. The second is to explore the coherence between the teachers’ and the students’ opinions concerning this eventual presence. To answer these questions, a quantitative method in the shape of a 10 steps questionnaire, has been distributed to five teachers and their groups of totally 109 students. The analysis shows a certain presence of the concept and a divergence between the teachers’ and the students’ answers. It seems that the teachers have a more positive view of their teaching practice than what is represented in the students’ answers.

Orientadora: Profa. Dra. Paula Ayako Tiba
Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Neurociência e Cognição, 2016.
Memórias de extinção são um produto das variações nas condições de condicionamento e na quantidade de tempo e sessões de extinção. Aumentos de sono paradoxal após a exposição a sessões de extinção foram descritas anteriormente, contudo trabalhos anteriores não testaram mais de um dia de extinção e tão pouco testaram se a modificação do sono após a extinção dependeria do intervalo de tempo entre condicionamento e extinção. Nós exploramos modificações da arquitetura do sono em diferentes condições de aprendizagem a extinção do medo condicionado. Em primeiro lugar, usamos uma tarefa de condicionamento de medo ao contexto (CMC) a fim de explorar o efeito de um evento aversivo (o choque elétrico) e um possível efeito do intervalo de tempo entre a sessão condicionamento e a sessão de extinção no sono e comportamento. O primeiro grupo, chamado Extinção Múltipla recebeu um treino de CMC com uma apresentação de choque único seguido por cinco sessões de extinção. O segundo grupo, chamado extinção única, foi treinado no CMC e expostos à extinção sete dias após este treino. O terceiro grupo - chamado choque imediato - recebeu uma sessão de treinamento com um único choque aplicado imediatamente depois de entrar na caixa de condicionamento e seguiu o mesmo protocolo de extinção que o grupo de extinção múltipla. A resposta de congelamento foi o parâmetro comportamental analisado. Informações sobre sono-vigília foram registradas através da coleta de dados de ECOG e EMG e classificado entre três fases: vigília, sono de ondas lentas e sono paradoxal. Os resultados mostraram aumento do sono de ondas lentas após CMC e aumento do sono paradoxal depois de CMC e extinção entre os grupos T-múltipla e T-única. Nossas descobertas apoiam achados anteriores sobre a relação entre sono paradoxal e aprendizagem da extinção e sugerem que modificações de sono de ondas lentas para extinção antecipada sejam dependentes do tempo.
Extinction memory is a product of variations in fear conditioning and fear extinction procedure and the amount of time and sessions of extinction. Increases in paradoxical sleep (PS) after exposure to extinction sessions was previously described; however, previous works did not test more than one day of extinction and did not test whether sleep modifications after extinction are dependent upon the time interval between conditioning and extinction. We explored sleep architecture modifications on different conditions of conditioned fear extinction learning. We first adapted a contextual fear-conditioning task in order to explore the effect of an aversive event (the electric shock) and a possible effect of time interval between conditioning and extinction session on sleep and behaviour. The first group, named Multiple Extinction (T-10 Multiple) received a contextual fear conditioning (CFC) training with a single shock presentation followed by five sessions of extinction. The second group, named single extinction (T-Single), was trained in the same CFC procedure and exposed to one single extinction session, seven days after training. The third group ¿ named immediate shock ¿ received a training 1session with a single shock applied immediately after entering the conditioning box following the same protocol of extinction as the T-Multiple group. The freezing response was the behavioural parameter analysed. Sleep-wake information was recorded by collecting electrocorticogram (ECOG) and electromyogram (EMG) data and scored as one between three phases: awake, slow wave sleep (SWS) and PS. Results showed that SWS increased after CFC, and it also showed that PS increased after CFC and extinction for either T-Multiple and T- Single group. Our findings support previous findings on PS relation with extinction learning and suggest some time-dependent SWS modification for early extinction re-exposure. The discovery of the participation of PS in contextual fear extinction and SWS role on nuances of extinction procedure expands the understanding of behaviour and sleep relations and, at the same time, offer a behavioural model to study sleep dependent stressful memory related to PTSD or HPA axis without the unconditioned behavioural and physiological effects of ES.

Les études de bioacoustique animale, qui reposent traditionnellement sur des modèles primates non humains et oiseaux chanteurs, convergent vers l'idée que la vie sociale serait la principale force motrice de l'évolution de la complexité de la communication. La comparaison avec les cétacés est également particulièrement intéressante d'un point de vue évolutif. Ce sont des mammifères qui forment des liens sociaux complexes, ont des capacités de plasticité acoustique, mais qui ont dû s'adapter à la vie marine, faisant de l'habitat une autre force de sélection déterminante. Leur habitat naturel impose des contraintes sur la production sonore, l'utilisation et la perception des signaux acoustiques, mais, de la même manière, limite les observations éthologiques. Etudier les cétacés captifs devient alors une source importante de connaissances sur ces animaux. Au-delà de l'analyse des structures acoustiques, l'étude des contextes sociaux dans lesquels les différentes vocalisations sont utilisées est essentielle à la compréhension de la communication vocale. Par rapport aux primates et aux oiseaux, la fonction sociale des signaux acoustiques des dauphins reste largement méconnue. En outre, les adaptations morpho-anatomiques de l’appareil vocal et auditif des cétacés à une vie sous-marine sont uniques dans le règne animal. Leur capacité à percevoir les sons produits dans l'air reste controversée en raison du manque de démonstrations expérimentales. Les objectifs de cette thèse étaient, d'une part, d'explorer l'utilisation contextuelle spontanée des signaux acoustiques dans un groupe captif de dauphins et, d'autre part, de tester expérimentalement les capacités à percevoir les sons sous l’eau comme dans l’air. Notre première étude observationnelle décrit la vie quotidienne de dauphins en captivité et montre que les signaux vocaux reflètent, à grande échelle, la répartition temporelle des activités sociales et non sociales dans un établissement sous contrôle humain. Notre deuxième étude met l'accent sur le contexte d’émission des trois principales catégories acoustiques précédemment identifiées dans le répertoire vocal des dauphins, à savoir les sifflements, les sons pulsés et les séries de clics. Nous avons trouvé des associations préférentielles entre chaque catégorie vocale et certains types d'interactions sociales ainsi que des combinaisons sonores non aléatoires et également dépendantes du contexte. Notre troisième étude a testé expérimentalement, dans des conditions standardisées, la réponse des dauphins à des « labels » acoustiques individuels donnés par l’homme et diffusés dans l’eau et dans l’air. Nous avons constaté que les dauphins peuvent reconnaître et réagir uniquement à leur propre « label » sonore, même lorsqu'il est diffusé dans l’air. En plus de confirmer l'audition aérienne, ces résultats soutiennent l’idée que les dauphins possèdent une notion d'identité. Dans l'ensemble, les résultats obtenus au cours de cette thèse suggèrent que certains signaux sociaux dans le répertoire des dauphins peuvent être utilisés pour communiquer des informations spécifiques sur les contextes comportementaux des individus impliqués et que les individus sont capables de généraliser leur concept d'identité à des signaux générés par l'homme
Studies on animal bioacoustics, traditionally relying on non-human primate and songbird models, converge towards the idea that social life appears as the main driving force behind the evolution of complex communication. Comparisons with cetaceans is also particularly interesting from an evolutionary point of view. They are indeed mammals forming complex social bonds, with abilities in acoustic plasticity, but that had to adapt to marine life, making habitat another determining selection force. Their natural habitat constrains sound production, usage and perception but, in the same way, constrains ethological observations making studies of captive cetaceans an important source of knowledge on these animals. Beyond the analysis of acoustic structures, the study of the social contexts in which the different vocalizations are used is essential to the understanding of vocal communication. Compared to primates and birds, the social function of dolphins’ acoustic signals remains largely misunderstood. Moreover, the way cetaceans’ vocal apparatus and auditory system adapted morphoanatomically to an underwater life is unique in the animal kingdom. But their ability to perceive sounds produced in the air remains controversial due to the lack of experimental demonstrations. The objectives of this thesis were, on the one hand, to explore the spontaneous contextual usage of acoustic signals in a captive group of bottlenose dolphins and, on the other hand, to test experimentally underwater and aerial abilities in auditory perception. Our first observational study describes the daily life of our dolphins in captivity, and shows that vocal signalling reflects, at a large scale, the temporal distribution of social and non-social activities in a facility under human control. Our second observational study focuses on the immediate context of emission of the three main acoustic categories previously identified in the dolphins’ vocal repertoire, i.e. whistles, burst-pulses and click trains. We found preferential associations between each vocal category and specific types of social interactions and identified context-dependent patterns of sound combinations. Our third study experimentally tested, under standardized conditions, the response of dolphins to human-made individual sound labels broadcast under and above water. We found that dolphins were able to recognize and to react only to their own label, even when broadcast in the air. Apart from confirming aerial hearing, these findings go in line with studies supporting that dolphins possess a concept of identity. Overall, the results obtained during this thesis suggest that some social signals in the dolphin repertoire can be used to communicate specific information about the behavioural contexts of the individuals involved and that individuals are able to generalize their concept of identity for human-generated signals

The presence of at least two prominent streams of church music within the DRC is evident – this is also true of most other Protestant and Reformed churches. There is tension between the ‘old music’ and the ‘new music’; traditional church music and contemporary church music; the official repertoire of church music and the utilized repertoire of songs. Liturgical singing often includes various free songs (songs outside the official hymnal). Songs from various traditions are cut and pasted or copied and merged into liturgy through a process of bricolage. Within bricolage liturgy there is a growing tendency towards bricolage liturgical singing. A brief overview of the history of church music illustrates the complexities regarding church music. The official song of the temple was often complimented by the ecstatic song of individuals. The more formal and official song of the church often stood in contrast to the song and music that were played and sung in houses and elsewhere. Christian believers in different eras expressed themselves in different forms and genres of music. The Bible does not support a blueprint for church music. There is no Biblical church music, mainly because no ‘melodies’ could be preserved (cf. Mowinckel 2004:9). The latter is further complicated by the culture-bound nature of Biblical music and songs. The Biblical data mostly provides snapshots of instances where God’s people utilized music and singing in their interaction with the Almighty and covenantal God. Certain principles and guidelines for church music could be drawn from these, although the danger of fundamentalism, relativism and subjectivism remains. A study of liturgy illustrates the important role of music and singing within the dialogue of the liturgy. Recent studies emphasize that church music could function as a ritual symbol within a specific cultural or sub-cultural community. As such church music is closely related to the culture (or sub-culture) of a given community and can never be evaluated apart from that culture. Within a postmodern culture, church music will be greatly influenced and coloured by the values and attitudes of postmodernism. The latter have major implications for musical styles, genres, repertoires and the sanctification of church music. Within postmodernism the borders between sacred and secular are not so clear, neither between sacred (liturgical) music and secular music. Within Western culture and postmodernism there is a growing need for an inculturated and an inter-culturated song, expressing the smaller narrative(s) of the local congregation in idioms, language, metaphors and styles true to the local culture. Church music is closely related to the spirituality of the local congregation. The dominant type of spirituality will necessarily have a sound influence on the musical genres, accompaniments, styles and repertoire of the local congregation. The growing phenomenon of popular spirituality has definite implications for church music. At least three circles of spiritualities must find expression in the song of the local congregation, namely an ecumenical spirituality, a denominational spirituality and a congregational spirituality. Where the official song (Liedboek van die Kerk) gives expression to the denominational or Reformed spirituality as well as the meta-narrative, the free song often gives expression to the congregational spirituality as well as the smaller narrative. It is argued that the freely chosen song is an important means of expressing the spirituality of the local congregation (culture). In this sense, it does not threaten the official church song but compliments it. These two could stand in a positive and creative tension. Regarding liturgical singing, the DRC is presently moving from a societas through a phase of communitas to a new societas. It is impossible to predict the outcome of this process. As Burger (1995:31) indicates, a communitas-phase releases a lot of new energy that could be of great value to the church. Church music, as folk music and cultural music, will have to be faithful to the culture and spirituality of God’s people living in the twenty first century within a given context. The age-old tradition must continue hand in hand with a new song. Vos (2009:5) summarizes accurately: “However, each generation of believers must interpret the ancient sources and traditions of the Church anew, within the demands of their time, without being unfaithful to the traditions in which a definitive liturgy exists”.
Thesis (PhD)--University of Pretoria, 2011.
Practical Theology
unrestricted

Home to the troubadours and a creative monastic center, twelfth-century Occitania (the south of France) fostered a vibrant musical culture that encompassed both secular and sacred, vernacular and Latin, spanning a wealth of locally cultivated genres. Such musical-poetic impulses reflected and responded to regional practices of courtly love, chivalric ideals, votive worship, monastic theologies, pilgrimage, and Holy War. This book demonstrates the rich cross-fertilizations between early Christian Crusades and two roughly contemporaneous musical-poetic repertories of Occitania: the sacred, Latin Aquitanian versus and the vernacular troubadour lyric. These two repertories are known largely in medieval and musicological studies for reasons apart from the Crusades—for monastic piety and Marian devotion in the case of the versus, and for courtly love and authorial voices in the case of the troubadour repertory. Yet, when considered against unfolding Crusade events, these poetic-musical repertories illuminate shifting Occitanian identities and worldviews as refracted by contemporaneous devotional practices, religious beliefs, and geographies, both physical and metaphoric. The author’s contextual investigations and musical-textual interpretations reveal how Crusade songs distinctively arose out of their southern French environments, at a historical moment when Holy War and new genres of musical composition coincided. Engaging both the outer world and the poet’s subjectivity, Crusade songs shaped regional identities, enacting individual concerns, the communal homeland, religious and military aspirations, and specific historical and geopolitical positions.

This chapter presents an annotated list of secondary sources whose major focus is either Cole Porter and his music or subjects closely related to his life and works. The bibliography will be of use to researchers who study Porter, his music, and the historical and cultural milieu in which he worked; it will also be of interest to those wishing to grasp the state of the field, as it serves as a general overview of the available research. The sources have been organized into six categories: biography; critical interpretation; musical construction; studies of particular songs, shows, or lyrics; contextual sources; and encyclopedic sources. Several sources that do not fall easily into any of these groupings have been listed separately.

La construcción de la identidad y la de los intereses nacionales de todo Estado constituyen procesos interdependientes y complementarios que se llevan a cabo de manera intersubjetiva al interior de sus sociedades en una línea de tiempo de largo aliento. En tal sentido, las identidades nacionales son proyectadas en el plano internacional por los líderes de los respectivos Estados, quienes a través de sus ideas, cosmovisiones y decisiones, desempeñan roles internacionales específicos que son percibidos por sus pares en el escenario internacional. De esta manera, la identidad nacional es relacional por la idea y el conocimiento compartido que los tomadores de decisión tienen de su nación, a fin de que pueda ser percibida y comprendida por los líderes de los demás Estados, es decir, se trata una relación entre alter y ego. En esencia, las identidades nacionales son estructuras cognitivas colectivas que los Estados comparten socialmente en el ámbito internacional. En este orden de ideas, tal como se desarrollará en el marco teórico de esta obra, los intereses de los Estados son construidos por las identidades nacionales. Adicionalmente, la identidad nacional y los intereses nacionales son factores fundamentales que influyen sustancialmente en la formulación e implementación de la política exterior de todo Estado. Así las cosas, se pueden identificar factores endógenos (cultura nacional, factores ideacionales y materiales) y exógenos (cultura de la anarquía, patrones de cooperación, competencia o conflicto, distribución de poder, lugar que ocupa un Estado en la jerarquía de poder internacional) que influencian la construcción y proyección de identidad y la definición de los intereses nacionales. Ahora bien, para comprender e interpretar la identidad y los intereses nacionales de un Estado como Colombia se requiere de procesos investigativos y de un diálogo sistemático, interdisciplinar y plural entre académicos y tomadores de decisión. En este caso particular, hemos enfocado el análisis en problemáticas relacionadas con la identidad nacional, la defensa, la seguridad y los intereses estratégicos del Estado colombiano desde una perspectiva multidimensional. Por tanto, la obra es producto de un proceso de investigación y conjunto entre oficiales, activos y de la reserva activa de las FF. MM. de Colombia y de académicos de la Pontificia Universidad Javeriana. Los autores realizaron sus investigaciones y la producción de sus textos en el marco del Curso de Altos Estudios Militares (CAEM) y el Curso Integral de Defensa Nacional (CIDENAL) de la Escuela Superior de Guerra (ESDEGUE). El proyecto fue auspiciado por la Fundación Konrad Adenauer de Colombia como concreción de la cooperación interinstitucional que ha venido llevando a cabo desde hace tres años con la Escuela Superior de Guerra, de modo que esta obra es el resultado del compromiso entre ambas entidades y el Centro de Altos Estudios Militares. El libro que aquí presentamos tiene tres secciones: la primera, denominada Marco teórico, incluye un capítulo en el que se desarrollan conceptos y categorías esenciales para el análisis y la comprensión de las nociones de identidad nacional, interés nacional, tipología de intereses nacionales, poder, tipologías de poder, estrategia nacional, objetivos nacionales, etcétera; la segunda sección tiene como título Perspectivas sobre identidad e intereses nacionales de Colombia y sus capítulos aportan las visiones sobre lo que ha sido el estudio y la formulación de dicha problemática durante los ejercicios académicos en distintas promociones del CAEM y el CIDENAL; la tercera y última sección, Intereses específicos de Colombia, recoge los trabajos sobre el análisis de dichos intereses del país, desde distintos enfoques, con las recomendaciones pertinentes para mejorar su gestión y defensa. De esta forma, confluyen dos visiones o perspectivas de gran trascendencia para promover un conocimiento complejo, sólido, riguroso y complementario sobre cada objeto de estudio determinado por los ejes y capítulos de la obra. Por lo tanto, el primer capítulo es presentado por los profesores Eduardo Pastrana Buelvas y Diego Vera Piñeros, quienes elaboraron un marco teórico desde el constructivismo que pretende entregar herramientas históricas, conceptuales y referentes contextuales, con el propósito de acercarse de una forma más idónea a la comprensión e interpretación de los elementos constitutivos y de las características de los intereses y de la identidad de las naciones. Para ello, parten de un ejercicio genealógico interpretando y rastreando los principales antecedentes del nacimiento del concepto o categoría de intereses e identidad. Igualmente, incorporan las distintas tipologías sobre la identidad y los intereses nacionales, en cuyo desarrollo resaltan la importancia de la relación estrecha que existe entre la concepción del rol nacional y la identidad. Por último, enuncian las concepciones del rol nacional que Colombia ha desempeñado y a través de las cuales ha sido percibida en su devenir histórico. Seguidamente, el segundo eje del libro está compuesto por seis capítulos. El primero de ellos es desarrollado por el mayor general Helder Fernán Giraldo Bonilla y el brigadier general (RA) Fabricio Cabrera Ortiz, autores que trabajaron la proyección nacional de Colombia desde los intereses nacionales. En esa línea, abordan analíticamente cómo la estrategia y el concepto de seguridad nacional en Colombia impactan la proyección del Estado y de las FF. MM. de cara a los desafíos y retos contemporáneos. Por su parte, el segundo capítulo del eje es presentado por el brigadier general de la Fuerza Aérea Colombiana Eliot Benavides González, el brigadier general del Ejército Nacional Erik Rodríguez Aparicio y el contralmirante de la Armada Nacional Óscar Darío Tascón Muñoz, quienes contribuyen con un análisis que parte del estudio y la comprensión de los puntos estructurales de la Apreciación Política Estratégica Nacional (APEN) y de la geopolítica contextual colombiana, en aras de identificar y determinar las amenazas, los problemas y las preocupaciones presentes en el entorno geoestratégico que tiene injerencia en la defensa y la seguridad multidimensional de Colombia. El tercer capítulo del eje es de autoría del profesor Eduardo Velosa Porras y consta de un análisis reflexivo sobre la concepción de nación, la percepción y la contestación del rol nacional en los ámbitos regionales y globales. Para esto, el autor parte de una interpretación sobre los principales roles que ha desempeñado Colombia en los últimos años, además, aborda de forma reflexiva y con relación a los elementos conceptuales y teóricos del rol, a qué identidades responden los roles que el país ha asumido en el marco de los intereses proyectados. Posteriormente, el cuarto capítulo del eje es elaborado por el profesor y estudiante del CIDENAL (2019) Francisco Alfonso Camargo Salas, quien desarrolla una definición y una clasificación de los intereses nacionales. A partir de ello, reflexiona sobre la identidad de Colombia, cómo esta se ha proyectado y, en consecuencia, cómo ha sido percibida en el escenario internacional. Para cerrar el capítulo, el autor presenta una relación analítica sobre el vínculo entre intereses y objetivos nacionales. El quinto capítulo del eje es trabajado por el mayor general (RA) Jorge Alberto Segura Manonegra, quien aborda la construcción del concepto de objetivos nacionales y cómo este impacta la estrategia de seguridad nacional. Para ello, hace una distinción conceptual y teórica sobre los intereses y los objetivos nacionales, y analiza la relación estructural entre objetivos, fines, modo y medios del Estado para la formulación y el alcance de los objetivos nacionales instituidos. El sexto y último capítulo del segundo eje es desarrollado por los coroneles de la Fuerza Aérea Colombiana Pedro Arnulfo Sánchez Suárez y del Ejército de Colombia Óscar Leonel Murillo Díaz, quienes presentan un análisis sobre la identidad nacional en relación con el patriotismo y el nacionalismo. Asimismo, reflexionan sobre las principales funciones de la identidad nacional y proponen un instrumento piloto orientado a interpretar y medir la percepción de la identidad nacional. El tercer eje del libro que versa sobre los intereses específicos de Colombia se compone de ocho capítulos. El primero de ellos es presentado por el brigadier general Óscar Zuluaga Castaño, el coronel Héctor Fabio Aristizábal Mustafá y el coronel Kerly Sánchez Pesca, cuya contribución es un análisis sobre el acceso al espacio exterior como un interés nacional vital de Colombia. Para el efecto, parten de una reflexión sobre la importancia del espacio ultraterrestre de Colombia para el desarrollo del comercio internacional y para la seguridad nacional. En este capítulo, los autores privilegian un enfoque desde el realismo clásico para interpretar y comprender la relevancia del espacio exterior como interés vital de Colombia. A continuación, el segundo capítulo del eje, elaborado por Óscar Cabrera Izquierdo, expresidente ejecutivo del BBVA en Colombia y estudiante del CIDENAL (2019), y por la economista Juana Téllez Corredor, consta de un análisis sobre los principales desafíos y retos de la economía colombiana ante las nuevas tendencias globales. En esa línea, los autores parten de la identificación de patrones y de datos macro y microeconómicos de los últimos años para el país. Con ello, a manera de reflexión prospectiva, se proponen proyectar las alternativas y los escenarios sobre la forma como la economía colombiana podría crecer y fortalecerse de cara a los desafíos globales. El tercer capítulo del eje es desarrollado por la profesora Louise Anne Lowe, quien aborda la protección ambiental como parte del interés nacional de Colombia y plantea un análisis sobre el complejo proceso teórico-práctico de la incorporación de los problemas ambientales en las agendas de los Estados. El cuarto capítulo del eje, cuyo autor es el brigadier general Raúl Flórez Cuervo, presenta una reflexión analítica sobre los intereses nacionales en juego en la Amazorinoquia. Para ello, inicia con un excurso argumentativo sobre la comprensión del valor vital de esta macrorregión para Colombia como Estado-nación y finaliza esbozando la identificación del complejo panorama de los factores que allí generan inestabilidad y tienen impacto en el país. A su vez, el quinto capítulo del eje es presentado por el coronel de Infantería de Marina de la Armada Colombiana Adolfo Enrique Hernández Ruiz y por el profesor Héctor Andrés Macías Tolosa, quienes trabajan los intereses marítimos y fluviales de Colombia. Así entonces, parten de una diferenciación conceptual entre el interés marítimo y el interés fluvial y después abordan de forma reflexiva la importancia que tienen los mares y ríos para la supervivencia del desarrollo de la nación. Para todo ello, los autores privilegian una mirada desde el realismo clásico y el neorrealismo. El sexto capítulo del eje es desarrollado por el profesor Carlos Álvarez Calderón y por la profesional en relaciones internacionales y estudios políticos de la Universidad Militar María Johana Alarcón Moreno, autores que presentan, a manera de reflexión, la identidad de Colombia como un asunto de interés nacional. En ese sentido, argumentan la necesidad de que los símbolos, los héroes, los rituales y los valores ameriten mayor relevancia para los estudios de seguridad y defensa, por lo que referencian que tales factores se constituyen como elementos fundamentales y determinantes de los intereses nacionales colombianos. Posteriormente, el séptimo capítulo del eje es el trabajo de los profesores Andrés Mauricio Valdivieso Collazos y Ricardo García Briceño, junto con la profesional en relaciones internacionales y estudios políticos de la Universidad Militar Sofía Correa Merchán, quienes interpretan cuáles han sido los intereses que los gobiernos de Colombia han priorizado de cara al cumplimiento de los estándares internacionales de derechos humanos. Para el cierre del capítulo, los autores proyectan la relación entre el interés nacional de los últimos dos gobiernos con relación a los procesos de construcción de paz en Colombia. El octavo y último capítulo del eje y del libro es presentado por el profesor Diego Vera Piñeros, la politóloga Paula Prieto y la internacionalista y comunicadora de la Pontificia Universidad Javeriana Daniela Garzón, quienes trabajaron la ciberseguridad, la ciberdefensa, la identidad y los intereses nacionales y de las Fuerzas Militares de Colombia. Para ello, inician con una caracterización de la denominada “cuarta revolución” con el propósito de determinar los procesos de producción que están a la vanguardia en materia de desarrollo, adquisición y uso de tecnologías digitales, físicas y biológicas, orientados a potenciar el crecimiento económico. Cierran el análisis abordando y articulando el interés de integrar los avances de la cuarta revolución a los campos de seguridad y defensa nacional, en aras de mejorar las capacidades institucionales y estatales frente a los desafíos y problemas contemporáneos. Así pues, este libro es una propuesta de reflexión, de análisis, de evaluación y de discusión sobre la o las identidades, el interés o los intereses de Colombia y el rol de las FF. MM. de cara a la construcción y configuración tanto de las identidades como de los intereses nacionales. Por lo tanto, desde una perspectiva interdisciplinaria y multidisciplinaria los autores presentan sus análisis con el principal objetivo de contribuir de forma prospectiva al entendimiento de los posibles escenarios en el marco de los complejos procesos y tendencias globales y regionales. Para los editores y para las instituciones auspiciadoras es muy satisfactorio lograr integrar dos perspectivas o dos visiones desde distintos roles (académicos y oficiales de las FF. MM. activos y de la reserva activa) sobre las diferentes aristas y complejidades de las identidades y los intereses del país. Finalmente, es menester decir que resulta gratificante para los editores poder contar con la participación y la contribución de cada uno de los autores, a quienes extendemos un gran agradecimiento por aceptar el desafío de proponer análisis y reflexiones para estos complicados y difíciles temas que demarcan la agenda política colombiana.

Over a century ago, hundreds of sponge fishermen and their families settled in Tarpon Springs, Florida. Their large numbers combined with continuing immigration to create a community that has preserved much of its culture. Anna Lomax Chairetakis Wood recorded the music of Kalymnian tsambouna player and National Heritage Fellow NikitasTsimouris and his family, with whom she shared bonds of friendship and fictive kinship. "Musical Practice and Memory on the Edge of Two Worlds: Kalymnian Tsambouna and Song Repertoire in the Family of Nikitas Tsimouris,” is a sensitive and carefully delineated contextual exploration of the social, lyrical, and ethnomusical dimensions of an increasingly rare musical tradition. The author covers such diverse topics as transmission and performance practice; singing styles; song function; repertoire; Kalymnian musical genres such as table songs, poetic duels (pismatika), dance songs, task songs, and ritual songs.

This chapter first explores a large-scale dance spectacle in which 50,000 twenty-something citizens celebrated Kim Il Sung’s birthday in 2000. It then looks at how mass performance spectacles have developed in North Korea, exploring their distinguishing characteristics. Next, a historical and contextual discussion is given (which expands from a brief consideration in the previous chapter), linking to dance, and explaining how the content of mass spectacles are notated and disseminated. This leads to an exploration and explanation of the chamo p’yogibŏp alphabet-based dance notation, developed in Pyongyang and first used in notation scores in the late 1980s. Then, inherited forms of dance (folkloric, indigenous, international), what they became, and the leading dancer Ch’oe Sŭnghŭi (1911–1968) are explored to set up an overview of the characteristics of dance in North Korea. The account foregrounds Ch’oe Sŭnghŭi’s adaptations of modern dance.

An overview is given of the ways in which the Prodigal Son appears in various literary genres and periods, as well as his waiting father and older brother. Reading the literary texts as contextual exegesis of the parable, the main findings of each chapter are summarized and compared. Colm Tóibín’s reflections on the new power of religious language in literary contexts, beyond the realm of belief, are offered as a way to understand that which has been lost and found in the journey the Prodigal Son has made through literature.

This chapter will start by giving a brief description about the most contextually relevant portions of the Bhagwad Gita (the Song of the Spirit) and go on to establish its stark opposition to egoism in general and anthropocentrism, in particular, which is responsible for most of the global problems in the age of the Anthropocene. It contends that anthropocentrism (including speciesism) is guilty for the globalized industry of animal agriculture that is responsible for large-scale suffering and various major global problems. It then seeks directions from the Gita on the appropriate principled responses to the industry, including that of changing dietary habits towards plant-based sources, before finally exploring whether the Gita would promote veganism.

This chapter will start by giving a brief description about the most contextually relevant portions of the Bhagwad Gita (the Song of the Spirit) and go on to establish its stark opposition to egoism in general and anthropocentrism, in particular, which is responsible for most of the global problems in the age of the Anthropocene. It contends that anthropocentrism (including speciesism) is guilty for the globalized industry of animal agriculture that is responsible for large-scale suffering and various major global problems. It then seeks directions from the Gita on the appropriate principled responses to the industry, including that of changing dietary habits towards plant-based sources, before finally exploring whether the Gita would promote veganism.

This chapter describes Stanisław Wielanek's Szlagiery starej Warszawy: Śpiewnik andrusowski (Hits of Old Warsaw: A Songbook of the Streetwise). Wielanek is the leader of Kapela Warszawska, a street band that usually performs for tips in an underpass near the Hotel Forum in the centre of Warsaw. They play mainly pre-war Warsaw urban folk music. Wielanek's 500-page volume contains a richness of material that is not only musical—including both scores and lyrics—but also literary and iconographic: from cabaret monologues and vignettes, jokes, bon mots, and biographical and contextual information, to drawings, posters, photographs, and postcards. Alongside old Warsaw songs and criminal or lumpenproletarian ballads, the book includes a separate section on Jewish folklore in Polish which is nearly 100 pages long, and another fifty-page section on Lwów.

El presente trabajo es una reflexión sobre las prospecciones que realizó el ingeniero y arqueólogo D. Vicente Paredes Guillén, en Extremadura en general, y sobre el camino de la Plata, en particular. Fruto de estas investigaciones son una serie de mapas y fotografías, algunas de ellas inéditas. Aquí incidiremos especialmente en la manera que tuvo de abordar el estudio de la “Vía de la Plata” en el que demuestra una modernidad notable. En efecto, se adelantó a su tiempo al acometer un estudio que hoy denominaríamos contextual, como demuestra el rigor que aplica al reseñar todas las evidencias arqueológicas que la jalonan el mencionado camino romano. Se trata de una obra de gran valor no sólo por lo minucioso de su trabajo, si no por estar basado en prospecciones directas sobre el terreno.

The purpose of the section is to outline the spiritual dimensions of the epistolary of the Ukrainian diaspora artists and, in particular, one of its leading representatives – Pavlo Matsenko (1897–1991), who with his various activities made a significant contribution to the development of Ukrainian musical culture. Pavlo Matsenko’s multi-vector activity covers a wide field of activity in various directions: teacher, conductor, musicologist, composer, organizer of the musical and cultural life of the Ukrainian community in exile, editor, publicist. From a wide range of its addressees (more than 200), correspondence with Metropolitan Hilarion (Ivan Ohienko), choral conductors Oleksandr Koshyts and Myroslav Antonovych, composer Stanislav Lyudkevych, and singer Yosyp Hoshuliak was chosen for analysis. These are close to Matsenko personalities in spirit, whose interests coincided with his own. The main area of interest in these letters is the study of Ukrainian church music, as well as choral performance, concert activities, work with bands. Another area of correspondence is a discussion of folk songs origin and its significance for church singing, as well as the peculiarities of performing folk songs. As a result of the study, taking into account the study of epistological materials as source material, three stages of the process are identified – contextual, attributive, actualization, as well as components of spiritual dimensions of Pavlo Matsenko’s epistolary: emotional-motivational, moral-ideological, cognitive-axiological, activity-creative. The rich epistolary heritage of the artist allows to better understand certain events of his life, to fill gaps in scientific research on communication with other artists and to characterize certain features of his personality. Letters are an integral aspect of source studies, on the basis of which the image of Pavlo Matsenko as a spiritual person is created.

El Laboratorio de Interferencias Artísticas y Mediales (IAM-lab) es un grupo de investigación interdisciplinar inscrito en el Departamento de Arte de la Universidad Miguel Hernández de Elche, y cuyos miembros imparten docencia en la Facultad de Bellas Artes de Altea. Nuestras líneas de investigación se centran en el desarrollo de proyectos en el ámbito de las prácticas artísticas audiovisuales, intermedia y transmedia, dedicando una especial atención a los diálogos entre medios, cuestiones tecnológicas, aspectos contextuales y procesuales. Entendemos la práctica artística como un laboratorio de posibilidades, que vinculamos a nuestro interés por el arte y la cultura contemporánea, los estudios visuales, el arte público, las prácticas colaborativas y los procesos pedagógicos y de mediación. Nuestra investigación apuesta por una práctica reflexiva que indaga formas de producción de sentido, y se interroga y experimenta sobre la imagen y las metodologías de investigación en las artes. En esta comunicación se muestran algunos aspectos metodológicos que consideramos clave en nuestro proceso de investigación, como son: la aplicación creativa del concepto de interferencia como acción disruptiva que cuestiona inercias asumidas, el viaje como marco activador y articulador de procesos, la experimentación lúdica y los procesos colaborativos, así como la exploración de diversos formatos de ensayo visual para vehicular los resultados de las investigaciones.

A partir de su difusión, la fotografía fue ganando en prestigio simbólico y en espacio propio. Los festivales de fotografía han contribuido a ello desde los años setenta del siglo XX, y su estudio y valoración supone uno de los puntos de partida para entender un relato que se ha construido a partir de premisas que incluyen a la imagen fotográfica como comunicación artística a través de la elección del representante y el movimiento de las imágenes. Una gran cantidad de ciudades cuenta con un festival dedicado en exclusiva a la fotografía. Además de funcionar como catalizadores de cuestiones económicas, turísticas y sociales —categorías que forman parte casi en exclusiva de la mayoría de los análisis—, desde el punto de vista artístico son un contexto adecuado para la visualización de fotógrafos y fotógrafas, nuevas tendencias y movimientos, y para generar marcos de pensamiento. Sus exposiciones sobre fotografía histórica han servido, por una parte, para validar la propia celebración del festival —considerándola un argumento de autoridad— y por otra, para rescatar ciertas figuras que, debido a la reticencia de algunos sectores a considerar la fotografía como Arte, habían quedado en el olvido. Así, han construido la historia de la fotografía y su puesta al día, especialmente, en el transcurso de los últimos 47 años. Incluso, el acercamiento a la imagen fotográfica, el hecho expositivo o el mercado del arte se han visto influenciados por la entrada en escena de nuevas propuestas que, de otra manera, no dispondrían de una plataforma apropiada para la exhibición. Este análisis se ha desarrollado a partir de 225 festivales de 70 países, celebrados entre 1970, año oficial de creación de los Rencontres Internationales de la Photographie de Arlés, y 2015, fecha elegida en tanto que se presupone el momento de recuperación económica. Para este estudio se han tenido en cuenta tanto los cambios sociales, económicos y políticos como los tecnológicos y los artísticos, por lo que la interpretación de los resultados es contextual desde el punto de vista del espacio y del tiempo. Así, algunas de las tablas realizadas tratan de esclarecer la ubicación de los festivales, el número de festivales por año, la cantidad de festivales por tramos de población, ediciones de cada festival, etc. Investigar sobre el mapa de encuentros fotográficos, su frecuencia, número o crecimiento es también una manera de formular una historia transversal de la fotografía. Su cuantificación y análisis estadístico arroja nuevas perspectivas relacionadas con los principios básicos que subyacen en la definición de festival, en las formas de difundir la imagen y, sobre todo, pone en crisis algunas de las cuestiones que suelen asociarse a estos encuentros a partir de lecturas superficiales, tales como los de centro y periferia o de valoraciones extra artísticas.