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Journal articles on the topic 'Fight songs'
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1
Studwell, William E. "College Fight Songs." Music Reference Services Quarterly 3, no. 4 (October 3, 1995): 33–38. http://dx.doi.org/10.1300/j116v03n04_03.
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Sandoval, Luis. "Male–male vocal interactions in a territorial neotropical quail: which song characteristics predict a territorial male's response?" Behaviour 148, no. 9-10 (2011): 1103–20. http://dx.doi.org/10.1163/000579511x596570.
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AbstractMales singing within their territories can change their song characteristics in order to interact with conspecifics; males may respond to territorial intrusions by vocalizing, approaching the intruder and/or displaying. I studied male–male interactions by quantifying vocal and behavioural responses of male spot-bellied bobwhites (Colinus leucopogon) toward playback of conspecific male songs. Male responses toward playback song depended on the quality of the territorial male's song relative to the playback stimulus. In this species males who sang songs with higher peak and low frequency, longer song duration, and lower song rate were less responsive to simulated territorial intrusions. Spot-bellied bobwhite males that sang in response to the playback increased the low frequencies of their songs relative to pre-playback song, a vocal behaviour related to dominance in males of other species. Males that approached the speaker sang longer songs, a characteristic associated with increased aggression or motivation to fight in other bird species. The results of this playback experiment suggest that male spot-bellied bobwhite song characteristics according to playback characteristics predict response to territorial intrusions and may, therefore, play an important role in male–male interactions.
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Studwell, William E. "American college fight songs: History and historiography." Popular Music and Society 19, no. 3 (September 1995): 125–30. http://dx.doi.org/10.1080/03007769508591602.
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Karmilawati, Karmilawati. "Kepahlawanan dalam Lagu-Lagu Perjuangan Nahdlatul Wathan Karya Hamzanwadi." Jubindo: Jurnal Ilmu Pendidikan Bahasa dan Sastra Indonesia 3, no. 3 (December 19, 2018): 118–23. http://dx.doi.org/10.32938/jbi.v3i3.348.
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This study aims to describe the forms of the heroes' characteristics and describe the heroic messages contained in the struggle songs of Nahdlatul Wathan (NW) by T.G.K.H. Muhammad Zainuddin Abdul Madjid (also known as Hamzanwadi). This research method is descriptive qualitative with content analysis technique which focuses research on the latent content of song texts as research data. This technique is done by reading, recording, and coding, which determines the themes of each form and the heroic message found in each song. The results of this study indicate that the form of heroism contained in the songs of struggle is the attitude of love of knowledge which is realized by diligently demanding knowledge, as well as the attitude of love for religion and nation which is realized through willingness to fight. The heroic message found is a call as well as an invitation to the ummah to have a noble character that is based on the knowledge of the realization of good relations between humans and God, humans and humans, and humans with nature.
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Erlmann, Veit. "‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39." Popular Music 8, no. 3 (October 1989): 259–73. http://dx.doi.org/10.1017/s026114300000355x.
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On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni. The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:Who has taken our country from us?Who has taken it?Come out! Let us fight!The land was ours. Now it is taken.We have no more freedom left in it.Come out and fight!The land is ours, now it is taken.Fight! Fight!Shame on the man who is burnt in his hut!Come out and fight! (Perham 1974, p. 196
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Alan, Suna. "Kurdish music in Turkey." Memory Studies 12, no. 5 (October 2019): 589–92. http://dx.doi.org/10.1177/1750698019870713.
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Musician and journalist Suna Alan gives an account of some of the songs she performs and loves. These are mainly Kurdish music. Suna describes the Dengbej tradition to which much of the music belongs. However, her summary of some songs, and excerpts from the lyrics, also draws on music by Sephardi Jews and the Armenians, other cultural groups who lived, like the Kurds, under the Ottoman Empire. The lyrics and Suna’s contextualization of them in terms of the history they tell and from which they emerge reveal the oppression and suffering of these transcultural groups under the Ottoman Empire, but also their fight against injustice. The music remembers their loves as well as their losses.
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Rillich, Jan, Edgar Buhl, Klaus Schildberger, and Paul A. Stevenson. "Female crickets are driven to fight by the male courting and calling songs." Animal Behaviour 77, no. 3 (March 2009): 737–42. http://dx.doi.org/10.1016/j.anbehav.2008.12.009.
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Apter, Andrew. "Discourse and its disclosures: Yoruba women and the sanctity of abuse." Africa 68, no. 1 (January 1998): 68–97. http://dx.doi.org/10.2307/1161148.
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If ritual songs of obscenity and abuse have become a familiar topic in Africanist ethnography since Evans-Pritchard's first discussion of their ‘canalising’ functions in 1929, few studies have paid sufficient attention to the socio-political and discursive contexts of the song texts themselves. The present article moves in that direction by relocating abusive songs of the Oroyeye festival in an Ekiti Yoruba town within the local forms of history and knowledge that motivate their interpretation and performative power. After reviewing the cult's historical interventions in local political affairs, the article examines the repressed historical memory of a displaced ruling dynasty and its associated line of civil chiefs as invoked by the song texts in two festival contexts. In the first—the Àjàkadì wrestling match—which occurs at night, male age mates from different ‘sides’ of the town fight to stand their ground and topple their opponents while young women praise the winners and abuse the losers with sexual obscenities. In the second festival context, during the day, the elder ‘grandmothers’ of Oroyeye target malefactors and scoundrels by highlighting their misdeeds against a discursive background of homage and praise. In this fashion the female custodians of a displaced ruling line bring repressed sexual and political sub-texts to bear on male power competition, lineage fission, and antisocial behaviour. More generally, they mobilise the fertility and witchcraft of all Yoruba women to disclose hidden crimes and speak out with impunity.
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Dickey, Sara. "The Politics of Adulation: Cinema and the Production of Politicians in South India." Journal of Asian Studies 52, no. 2 (May 1993): 340–72. http://dx.doi.org/10.2307/2059651.
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Popular south Indian cinema is a highly melodramatic entertainment form, plotted around improbable twists of fate and set in exaggerated locales, filled with songs, dances, and fight scenes. Patronized primarily by the poor, it is typically dismissed by critics, who find its vast popularity either bemusing or indicative of viewers moral and intellectual degradation. Even more confounding for many observers has been cinema's critical role in state and national politics.
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Cooper, B. Lee. "I'll fight for God, country, and my baby: Persistent themes in American wartime songs." Popular Music and Society 16, no. 2 (June 1992): 95–111. http://dx.doi.org/10.1080/03007769208591479.
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Kariko, Abdul Aziz Turhan. "Malay Pop: Mass Media Hegemony in Indonesia Popular Music." Lingua Cultura 3, no. 2 (November 30, 2009): 99. http://dx.doi.org/10.21512/lc.v3i2.336.
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Article discusses the domination of Malay pop music through textual analysis of songs, observation of musical programs, and interviews with important figures. The research data were obtained by library research and analyzed through a critical theory approach to gain an understanding of the text and its effects. The article concludes that Malay pop contains a strong uniformity which may be termed a phenomenon in the context of the culture industry, while also being dominant because of its legitimacy created by the media. The nature of Malay pop is also very profitable for those participating in it, therefore the spirit of capitalism was also quite dominant in this context. There is also resistance from the indie music movement, and its attempts to fight regressive qualities of music that are legitimized in the mainstream mass media.
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Toelle, Jutta. "Todas las naciones han de oyrla: Bells in the Jesuit reducciones of Early Modern Paraguay." Journal of Jesuit Studies 3, no. 3 (June 8, 2016): 437–50. http://dx.doi.org/10.1163/22141332-00303005.
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The essay focuses on the role of bells in the Jesuit reducciones. Within the contested sound world of the mission areas, bells played an important role as their sounds formed a sense of space, regulated social life, and established an audibility of time and order. Amongst all the other European sounds which Catholic missionaries had introduced by the seventeenth century—church songs, prayers in European languages, and instrumental music—bells functioned especially well as signals of the omnipotent and omnipresent Christian God and as instruments in the establishing of acoustic hegemony. Taking the Conquista espiritual by Antonio Ruiz de Montoya (1639) as its main source, the essay points to several references to bells, as objects of veneration, as part of a flexible material culture, and, most importantly, as weapons in the daily fight with non-Christians, the devil, and demons.
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Kirwan, Paul. "College Fight Songs II: A Supplementary Anthology200296William E. Studwell, Bruce R. Schueneman. College Fight Songs II: A Supplementary Anthology. New York, NY, London and Oxford: The Haworth Press 2001. xiv + 447pp, ISBN: 0 7890 0920 X; 0 7890 092108 paperback $59.95 (£49.68); $34.95 (£28.98) paperback." Reference Reviews 16, no. 2 (February 2002): 37. http://dx.doi.org/10.1108/rr.2002.16.2.37.96.
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Hagemann, Karen. "Of “Manly Valor” and “German Honor”: Nation, War, and Masculinity in the Age of the Prussian Uprising Against Napoleon." Central European History 30, no. 2 (June 1997): 187–220. http://dx.doi.org/10.1017/s0008938900014023.
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These words introduced a collection entitledDeutsche Wehrlieder für das Königlich-Preussische Frei-Corps(German Military Songs for the Royal Prussian Volunteer Corps), that appeared in March 1813 immediately after Prussia declared war on France. It was not only in this songbook that the patriotic national mobilization for the struggle against Napoleonic rule was closely linked to the propagation of “valorous manliness” (wehrhafte Mannlichkeit). In the period of the Wars of Liberation between 1813 and 1815, the press and topical literature teemed with similar phrases and cultivated a veritable cult of manliness. A new breed of “patriotically”-minded, “combat-ready” men was needed if, as intended, a “people's army” of conscripts was to fight a successful “national war” against France. This phenomenon has generated scant interest in the extensive historical literature about the time between 1806 and 1815, which is considered as the birth period of the German national movement.
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Edwards, Owen Dudley. "PATRICK MACGILL AND THE MAKING OF A HISTORICAL SOURCE: WITH A HANDLIST OF HIS WORKS." Innes Review 37, no. 2 (December 1986): 73–99. http://dx.doi.org/10.3366/inr.1986.37.2.73.
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Patrick MacGill was born at Glenties, a little village in one of the wildest districts of Donegal on the north coast of Ireland, twenty-one years ago. The eldest of a family of ten, he had to go out into the world at a very early age and begin his fight in the great battle of life. When twelve years old he was engaged as a farm hand in the Irish Midlands, where his day's work began at five o'clock in the morning and went on till eleven at night through summer and winter. It was a man's work with a boy's pay. At fourteen, seeking newer fields, he crossed from 'Derry to Scotland; and there for seven years was either a farm hand, drainer, tramp, hammer-man, navvy, plate-layer or wrestler. During all these years he devoted part of his spare time to reading, and found relief from the drag of the twelve-hour shift in the companionship of books. At nineteen he published 'Gleanings from a Navvy's Scrapbook', and in September, 1911, left the service of the Caledonian Railway Company at Greenock and came to London. In the following year he relinquished his post with the newspaper, and published 'Songs of a Navvy'. This, as well as the former, being now out of print, he has put together some of the pieces out of either, re-written others, and added fresh ones to the same in the present 'Songs of the Dead End'. Windsor, July, 1912. J.N.D.
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Rubin, Margareta. "Experiences from the World Health Organization Missions in Sarajevo, 1992–1993." Prehospital and Disaster Medicine 9, S1 (June 1994): S8—S10. http://dx.doi.org/10.1017/s1049023x00041091.
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As a physician and aid worker for the World Health Organization (WHO), I spent some months during the winter (1992-1993) in the besieged city of Sarajevo and another month during the spring (1993) in northeastern Bosnia.Impressions from such an experience, in the middle of a war in Europe, naturally mark one's mind. As one who has seen Sarajevo's people desperately fight to survive the winter, during constant bombardment, and with lack of everything associated with basic needs such as fuel, food, water, and drugs, I will never forget. I could speak a long time about the hardship, as well as the helpfulness, friendship, and even happiness amid grief and misery. There were joyful parties with Bosnian songs and music, dinners with food made of almost nothing at all and held in homes seriously damaged by shelling. Sarajevo, that magic city, became a mysterious attraction to us foreigners. Once we had been there, we had to go back to see how the city was surviving. We all had the “Sarajevo Syndrome.”
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Ilieva, Angelina. "The General, His Fandom, and a Participatory Pandemic." Folklore: Electronic Journal of Folklore 82 (April 2021): 53–78. http://dx.doi.org/10.7592/fejf2021.82.ilieva.
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In February 2020, the Bulgarian government established the National Operational Headquarters for Combating the COVID-19 Pandemic in Bulgaria. General Ventsislav Mutafchiyski, a military doctor, professor at the Military Medical Academy in Sofia, was appointed as its chairman. This paper presents a case study on the public image of Ventsislav Mutafchiyski, its readings and interpretations by the audience, and the specific fan culture that emerged around his media persona during the first wave of the COVID-19 pandemic in Bulgaria. Placed in the spotlight of the media at the very beginning of the crisis, Mutafchiyski became extremely popular as the public figure most strongly associated with the fight against the spread of the disease in the country. Around his media persona, shaped in the public imagination as a wartime leader, a fan culture has grown with all its characteristic features and dimensions: fans and anti-fans, affirmative and transformative fandom. As a fictional character, Mutafchiyski has appeared in numerous forms of vernacular creativity: poems, songs, material objects, jokes, fake news, conspiracy theories, and memes. In this way, the General has become the main character of Bulgarian pandemic folklore and the focal point of a participatory pandemic.
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Phylis Bartoo, Mary Kamunyu;. "Language and Representation: Framing of HIV/AIDS Discourse in Gikuyu “Mukingo” Songs and Common-Talk by Public Transport Operators in Nyeri Town." Editon Consortium Journal of Literature and Linguistic Studies 1, no. 2 (October 30, 2019): 78–94. http://dx.doi.org/10.51317/ecjlls.v1i2.62.
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This paper aims to uncover representations and framings of the HIV/AIDS phenomenon. The paper asks: What are the representations and framings of the HIV/AIDS phenomenon in HIV/AIDS discourse in Gikuyu AIDS "Mukingo" songs and common-talk by public transport operators in Nyeri town? Although HIV and AIDS are biomedical and social phenomena that affect Kenyan society to the core, HIV/AIDS discourse has not been investigated adequately, especially with regard to how its discourse is represented in the African languages. The language and topics of research on HIV/AIDS, based on Western perceptions of reality, continue to exclude and marginalize the Third World’s own perceptions of reality and what counts as knowledge in the fight against HIV/AIDS. The paper is hinged within the frameworks of Critical Discourse Analysis (CDA) and Systemic Functional Linguistics Theory (SFL) as the theoretical orientations to the study of HIV/AIDS discourse. To get the needed data, the paper used purposive, and snowball sampling was used due to the mobile nature of public transport operators. Structured interviews and Focus Group Discussions (FGD) was also used for data collection. Data analysis was done using a traditional thematic analysis. Unpacking the social constructions of HIV/AIDS in this paper sheds light on the ways in which laypeople construct “common sense assumptions”, of the epidemic in the public realm.
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Amalia, Ila. "REPRESENTASI PRAKTEK PERBUDAKAN DAN PENINDASAN DALAM PUISI ‘NEGRO’ KARYA LANGSTON HUGHES: SEBUAH KAJIAN POSKOLONIAL." Diksi 29, no. 1 (March 29, 2021): 51–59. http://dx.doi.org/10.21831/diksi.v29i1.33250.
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(Title: Representation of Slavery and Oppression Practices in 'Negro' Poetry by Langston Hughes: A Postcolonial Study). This study aims to describe the forms of oppression and slavery practices caused by racial discrimination and colonialism practices. With a background of slavery experienced by blacks in this case the African nation, the analysis of this poem aims to see how: (1) The form of slavery and oppression carried out by the colonials against the colonized people depicted in the poem "Negro" by Langston Hughes, (2) Forms of struggle and response carried out by colonized nations towards the practice of oppression illustrated in the poem "Negro" by Langston Hughes. The postcolonial theory approach is used as a foundation in the analysis of the poetry. The data source is taken from a poem by Langston Hughes with the theme of discrimination and racial subordination of African-Americans entitled "Negro" written in 1922. The results show that black people have experienced oppression in the form of slavery, forced/hard workers, victims of cruelty, and art workers who express their stories and historical experiences through their songs. One of the efforts made by colonized nations to fight against colonial practices is through civil movements, including through literary works. Later this civil movement led to the discourse of the abolition of slavery throughout the world.Keywords: postcolinial, colonialism, oppression, slavery, Africa
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Frank, Thomas. "Academy Fight Song." Baffler 23 (July 2013): 22–33. http://dx.doi.org/10.1162/bflr_a_00165.
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Zuliana, Erni. "Film “sang kyai”." Al-Fathin: Jurnal Bahasa dan Sastra Arab 2, no. 1 (June 29, 2019): 1. http://dx.doi.org/10.32332/al-fathin.v2i2.1466.
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Analysis ofFilm "Sang Kyai" (Islamic Nationalism Nusantara Perspective Semiotics Roland Barthes).One of the fundamental problems underlying the author's take on this study, becauseas long as it has begun to wear off Indonesia citizen nationalism stance. Such is the case, the tendency of citizens that Indonesia is more loved by the people of the West,dressing style that follows the culture of people of the West,so this leads to a lack of respectcopyright, the initiative of the Indonesian nation.Another unique phenomenon is when a writer tries to analyze many among small children who haven't cultivated an attitude of nationalism or patriotismby their parents this is evident from the songs the children sing a lot of them sing songs welcoming love of the opposite sexeven more deadly many of them don't know the national anthem of the Republic of Indonesia.The author tried to examine this film in the perspective of semiotics Roland Barthes.According to Roland Barthes there are three meanings in the study of semiotics are denotation, connotation and mitos. By formulating a problem formulation is; How can the representation of Islamic Nationalism signs nusantara which is contained in the film "Sang Kyai". This research uses qualitative research using type approach figure KH Hasyim Ash'ari as the driving force of Nahdhatul Ulama (NU) and the founder of the first cottage Tebuireng Jombang. In this study the author uses the analysis of semiotics Roland Barthes, a theory of semiotics examines about signs.
The study in this research is the study of linguistic,language is a system of sound arbitrer coat of arms,used by members of a community to work together,interact, and identifyWhile the studies related to the science of signs as well as very useful once semiotik in studies of languagebecause with through signs everything can be interpreted.As for the results of this study indicate that Islamic Nationalism in the movie "Sang Kyai" perspective of semiotics Roland Barthes can be categorized into three are;(1) maintaining the unity and the unity of the country that is described in the corpus of 1, 2 and 3, (2)Cultivating Shura (consultation), which elaborated on the bodies of 4, 5 and 6,(3) the fight for Justice that is described in the corpus 7 and 8.
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Milius, Susan. "Song Fights." Science News 166, no. 25/26 (December 18, 2004): 397. http://dx.doi.org/10.2307/4015685.
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Ardika Yasa, I. Made. "Nilai-Nilai Pendidikan Dalam Budaya Tarung Presean Di Lombok Barat (Perspektif Agama Hindu)." Jurnal Penelitian Agama Hindu 4, no. 1 (May 18, 2020): 34. http://dx.doi.org/10.25078/jpah.v4i1.1334.
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<p><em>Tarung Presean Culture in Batu Kumbung Village, Lingsar Subdistrict, West Lombok Regency, there are several components that can be examined in the presentation of results including: (a) Tarung Presean Culture is carried out by the Hindu Balinese who have long lived on the island of Lombok along with the Muslim Sasak tribe with a variety of social statuses but one goal is to ask for the gift of rain in order to obtain fertility and commemorate the services of the ancestors and as a form of thanks to the spirits of their ancestors who have fought to achieve independence and unite the archipelago. The culture of Tarung Presean in Batu Kumbung Village, Lingsar District, goes through several stages, namely; (1) preparations include making arenas, providing tools for Tarung Presean, and appointing referees (Pekembar), (2) Introduction marked by the beating of Sasak gamelan instruments accompanied by Sasak version of Pancasila songs, (3) the peak of the Ceremony designating an audience to be Pepadu and Tarung Presean begins after Pepadu is determined and ready to fight, (4) closing ceremony, a pair of Pepadu who have competed with each other / hugged each other and the committee gives gifts to fighters and gives closing words to the audience and fighters / Pepadu about the meaning contained in Tarung Presean. (b) In studying the values of Hindu religious education contained in the culture of Tarung Presean in the Batu Kumbung village of Lingsar sub-district, West Lombok Regency, using the Hindu Religious Concept which refers to the holy books, namely: Vedic Scriptures, Bhagavad Gita, Manawa Dharmasastra, and Sarascamuccaya. (c) In Tarung Presean in Lingsar Temple, Lingsar Subdistrict, West Lombok Regency, there are aesthetic aspects, logic aspects, and ethical aspects as well as very deep meaning, including; (1) Tarung Presean as Actualization of Self-Control, (2) Tarung Presean as a form of Sportmanship and Patriotism, and (3) Tarung Presean Application from Tri Hita Karana.</em></p>
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Studwell, William E. "Tracking Down the Elusive College Fight Song." Popular Culture in Libraries 2, no. 4 (February 1995): 49–52. http://dx.doi.org/10.1300/j117v02n04_03.
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Kariko, Abdul Azis Turhan. "Sleep Now in The Fire: An Analysis of A Song by Rage Against The Machine Using Marxism." Humaniora 2, no. 2 (October 31, 2011): 1151. http://dx.doi.org/10.21512/humaniora.v2i2.3165.
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Rage against the Machine is known for their politics as well as their music, which the later helped creating an aggressive-heavy rock-rap genre. Article presents a song by Rage against the Machine band related to ideological movement in America, titled Sleep Now in the Fire. This effort brings an understanding ofideology that is embraced by the band. The method is through literature study. Presentation begins with a short biography of the band, theoretical concepts, and analysis of the song as well its music video. It is concluded that the song represents ideological criticism toward capitalism using Marxism. Both of these lyric and music video represents Marxism as it shares the same movement to fight capitalism—which in this case, Rage against the Machine is using their music, lyric, and video to fight the crime against humanity and cultural imperialism.
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Ripmeester, Erwin A. P., Anne M. de Vries, and Hans Slabbekoorn. "Do Blackbirds Signal Motivation to Fight with Their Song?" Ethology 113, no. 11 (November 2007): 1021–28. http://dx.doi.org/10.1111/j.1439-0310.2007.01398.x.
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Ramić, Ibnel. "SONGS ABOUT A DISGUISED GIRL IN BOSNIAK ORAL TRADITION." Zbornik radova 17, no. 17 (December 15, 2019): 433–51. http://dx.doi.org/10.51728/issn.2637-1480.2019.17.433.
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We encounter songs about a disguised girl in our oral tradition throughout the history of its recording – from Erlangen Manuscript, over Vuk Stefanovic Karadzic's collection, to the collections made in the second half of the twentieth century. In those songs a girl disguises as a man in most cases to replace her aged father in a battle. She fights and lives a life of a warrior side by side with men, but manages to keep her female identity hidden from male comrades, going wisely and skillfully through all ordeals by which they try to uncover her. In the end she reveals her identity in order to mock them and escape as a winner. The paper presents such songs included in the collection by Alija Nametak Od bešike do motike. Narodne lirske i pripovijedne pjesme bosansko-hercegovačkih Muslimana published in 1970. In addition to comparing them with songs from other collections we will discuss a literary-theoretical determination of these songs. We will also point to the picture of male-female relationships in them, which differs from the well-known stereotypes present in our oral literature and our folk tradition in general.
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Adam, David. "A father’s fight to help his sons — and fix clinical trials." Nature 565, no. 7738 (January 2019): 148–51. http://dx.doi.org/10.1038/d41586-019-00035-x.
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Messer, Peter. "“A scene of Villainy acted by a dirty Banditti, as must astonish the Public”: The Creation of the Boston Massacre." New England Quarterly 90, no. 4 (December 2017): 502–39. http://dx.doi.org/10.1162/tneq_a_00639.
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In the years before the American Revolution, “A scene of Villainy acted by a dirty Banditti” argues, Boston's Sons of Liberty built their claim to govern their community, at the expense of both Loyalists and laboring Bostonians, by transforming a street fight between soldiers and civilians into the Boston Massacre.
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Митевски [Mitevski], Витомир [Vitomir]. "The Akritic Hero in Byzantine and Macedonian Epic Poetry." Colloquia Humanistica, no. 7 (December 18, 2018): 10–31. http://dx.doi.org/10.11649/ch.2018.009.
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The Akritic Hero in Byzantine and Macedonian Epic PoetryComparative analysis of the most prominent heroic characters of Byzantine (Armouris and Digenes) and Macedonian (King Marko) epic poetry uncovers numerous contact points that reveal the close relation between these two cultures over a longer period of time. By using the term “akritic hero” or border warrior in Byzantine and the term kraishnik in Macedonian epic poetry, the paper analyses the relation between these two representations of the same type of epic hero. Complex concordance is explored on several levels which illustrate several characteristic features of the Byzantine akritic heroes Digenes and King Marko in traditional Macedonian epic poetry. Both Digenes and Marko are lone horsemen roaming in restricted territory (Cappadocia andMacedonia), they fight as individuals with distinguished opponents and even with armies, and win the fights, slay the dragon in identical manner, there are occurrences of child-heroes in the songs and the institution of avunculate is particularly emphasised in the act of initiation etc. Unlike monolithic character of Homeric heroes, in Byzantine and Macedonian epic poetry both Digenes and Marko are significantly more complex and occasionally inconsistent characters which is due to their centuries-long shaping in territories where different cultural influences are interwoven. Bohater z pogranicza w bizantyjskiej i macedońskiej poezji epickiejAnaliza komparatystyczna najbardziej wyrazistych postaci w bizantyjskiej (Armuris i Digenis) i macedońskiej (Królewicz Marko) epice ujawnia szereg punktów wspólnych, co świadczy o bliskich kontaktach pomiędzy tymi dwiema kulturami w długim okresie czasu. Na przykładzie pojęcia akryty, to znaczy żołnierza z pogranicza [Cesarstwa Wschodniorzymskiego], który w macedońskiej epice jest nazywany pogranicznikiem i jest nośnikiem takiego samego znaczenia (jak termin akryta), w artykule analizowany jest wzajemny stosunek tych dwóch odmian tego samego typu bohatera epickiego. Kompleksowa analiza uwidacznia podobieństwo na wielu poziomach, przy czym akryta - pogranicznik Królewicz Marko w macedońskiej tradycyjnej poezji epickiej odznacza się szeregiem charakterystycznych cech właściwych akrycie. Tak oto, i Digenis, i Karólewicz Marko są samotnymi wojownikami, którzy poruszają się po ograniczonej przestrzeni (Kapadocja i Macedonia), stają samotnie do dwuboju z wybitnymi przeciwnikami, a nawet z całymi armiami i wychodzą z nich zwycięsko, w ten sam sposób pokonują żmija, w pieśniach o nich występują dzieci-junacy, przy czym w obydwu kontekstach (bizantyjskim i macedońskim) jest kładziony akcent na instytucję awunkulatu (avunculus), co ma szczególne znaczenie w kontekście aktu inicjacji, itd. W przeciwieństwie do monolitycznego charakteru bohaterów homeryckich, w bizantyjskim i macedońskim eposie, Digenis i Królewicz Marko są postaciami o wiele bardziej kompleksowymi i wewnętrznie sprzecznymi, co wynika z ich wielowiekowego poetyckiego kształtowania się na terenach, na których krzyżują się najróżnorodniejsze wpływy. Акритскиот херој во византиската и македонскатаепска поезијаСпоредбената анализа на најистакнатите херојски ликови на византиската (Армурис и Дигенис) и македонската (Марко Крале) епика открива низа допирни точки што сведочи за блискиот контакт меѓу овие две култури во тек на подолг временски период. На примерот на поимот за т. н. акритски херој т. е. воин одграничните предели кој во македонската епика го носи називот краишник со идентично значење, во текстот се истражува меѓусебниот однос на овие две пројави на еден ист тип епски херој. Комплексното соодветство се развива на повеќе нивоа при што краишникот Марко Крале во македонската традиционална епска поезија се истакнуива со низа типични „акритски“ обележја. Така, и Дигенис и Марко се осамени коњаници кои се движат на ограничен простор (Кападокија односно Македонија), стапуваат како единка во двобои со истакнати противници, па дури и со цели војски и од нив излегуваат како победници, на идентичен начин го погубуваат змејот, во песните за нив се јавуваат деца-јунаци при што и на двете страни акцент се става на институтцијата на авункулат што особено важи во чинот на иницијација итн. Наспроти монолитниот карактер на хомерските херои, во византискиот и македонскиот еп Дигенис и Марко се многу покомплексни и понекогаш противречни фигури што е резултат на нивното повеќевековно поетско обликување на простори каде што се преплетуваат најразлични влијанија.
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Loving, Jerome M. "Mark Edmundson. Song of Ourselves: Walt Whitman and the Fight for Democracy." Walt Whitman Quarterly Review 39, no. 1 (September 7, 2021): 59–61. http://dx.doi.org/10.13008/0737-0679.2418.
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Bereza, R. P. "Hutsul Christmas as a Phenomenon of Christian Worldview and Folk Morality." Ukrainian Religious Studies, no. 26 (January 14, 2003): 82–89. http://dx.doi.org/10.32420/2003.26.1448.
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Hutsuls, as one of the ethnic groups of the Ukrainian people, are undoubtedly, along with fights and lemmas, among the most striking exponents of the spiritual culture of the Carpathian Ukrainians. The great attractiveness of the Hutsul's geographical space of habitation could not but affect their worldviews, bright mentality and original patterns of traditional culture. Along with unsurpassed specimens of folk architecture, folk art, choreography, the original pearls of the Hutsul's spiritual heritage include their songs.
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Klimek-Grądzka, Jolanta. "Obraz luteranów w Rodzayu abo potomstwie […] piątego ewanyelisty i oyca (1561)." Poznańskie Studia Polonistyczne. Seria Językoznawcza 25, no. 2 (April 8, 2019): 131–47. http://dx.doi.org/10.14746/pspsj.2018.25.2.7.
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This article is a language-stylistic analysis of an anonymous translation of the Latin polemical text entitled The Kind, or the Descendants of Martin Luther, the Fifth Evangelist and the Father, who Gave Life to Evangelists and their Christian Congregations, who Fight against the Church of God and against Each Other. The analysis has determined that the main organizing principle of the text is the use of parallelisms and oppositions of the kind “sons of Christianity” v. “sons of Satan”, true (faith) v. sectarian (denomination), unity v. diversity. The evaluative narrative and the way in which the particular fractions within the Lutheran church are depicted illustrate a case of a well-balanced polemical, whose main objective is to prove the inferiority of the Reformed denominations.
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HALL, ANDREW B., CONNOR HUFF, and SHIRO KURIWAKI. "Wealth, Slaveownership, and Fighting for the Confederacy: An Empirical Study of the American Civil War." American Political Science Review 113, no. 3 (May 23, 2019): 658–73. http://dx.doi.org/10.1017/s0003055419000170.
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How did personal wealth and slaveownership affect the likelihood Southerners fought for the Confederate Army in the American Civil War? On the one hand, wealthy Southerners had incentives to free-ride on poorer Southerners and avoid fighting; on the other hand, wealthy Southerners were disproportionately slaveowners, and thus had more at stake in the outcome of the war. We assemble a dataset on roughly 3.9 million free citizens in the Confederacy and show that slaveowners were more likely to fight than non-slaveowners. We then exploit a randomized land lottery held in 1832 in Georgia. Households of lottery winners owned more slaves in 1850 and were more likely to have sons who fought in the Confederate Army. We conclude that slaveownership, in contrast to some other kinds of wealth, compelled Southerners to fight despite free-rider incentives because it raised their stakes in the war’s outcome.
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Đozić, Adib. "Identity and shame – How it seems from Bosniaks perspective. A contribution to the understanding of some characteristics of the national consciousness among Bosniaks." Historijski pogledi 4, no. 5 (May 31, 2021): 258–88. http://dx.doi.org/10.52259/historijskipogledi.2021.4.5.258.
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The relationship between identity and national consciousness is one of the important issues, not only, of the sociology of identity but of the overall opinion of the social sciences. This scientific question has been insufficiently researched in the sociological thought of Bosnia and Herzegovina, and with this paper we are trying to actualize it. Aware of theoretical-methodological and conceptual-logical difficulties related to the research problem, we considered that in the first part of the paper we make some theoretical-methodological notes on the problems in studying this phenomenon, in order to, above all, eliminate conceptual-logical dilemmas. The use of terms and their meaning in sociology and other social sciences is a very important theoretical and methodological issue. The question justifiably arises whether we can adequately name and explain some of the “character traits” of the contemporary national identity of the Bosniak nation that we want to talk about in this paper with classical, generally accepted terms, identity, consciousness, self-awareness, shame or shame, self-shame. Another important theoretical issue of the relationship between identity and consciousness in our case, the relationship between the national consciousness of Bosniaks and their overall socio-historical identity is the dialectical relationship between individual and collective consciousness, ie. the extent to which the national consciousness of an individual or a particular national group, political, cultural, educational, age, etc., is contrary to generally accepted national values and norms. One of the important factors of national consciousness is the culture of remembrance. What does it look like for Bosniaks? More specifically, in this paper we problematize the influence of “prejudicial historiography” on the development of the culture of memory in the direction of oblivion or memory. What to remember, and why to remember. Memory is part of our identity. The phrase, not to deal with the past but to turn to the future, is impossible. How to project the future and not analyze the past. On the basis of what, what social facts? Why the world remembers the crimes of the Nazis, why the memory of the Holocaust and the suffering of the Jews is being renewed. Which is why Bosniaks would not remember and renew the memory of the genocides committed against them. Due to the Bosniak memory of genocide, it is possible that the perpetrators of genocide are celebrated as national heroes and their atrocities as a national liberation struggle. Why is the history of literature and art, political history and all other histories studied in all nations and nations. Why don't European kingdoms give up their own, queens and kings, princesses and princes. These and other theoretical-methodological questions have served us to use comparative analysis to show specific forms of self-esteem among Bosniaks today. The concrete socio-historical examples we cite fully confirm our hypothesis. Here are a few of these examples. Our eastern neighbors invented their epic hero Marko Kraljevic (Ottoman vassal and soldier, killed as a “Turkish” soldier in the fight against Christian soldiers in Bulgaria) who killed the fictional Musa Kesedzija, invented victory on the field of Kosovo, and Bosniaks forgot the real Bosniak epic heroes , brothers Mujo and Halil Hrnjic, Tala od Orašac, Mustaj-beg Lički and others, who defended Bosniaks from persecution and ethnic cleansing in the Bosnian Krajina. Dozens of schools in Bosnia and Herzegovina have been named after the Serbian language reformer, the Serb Vuk Stefanović Karađić (1787-1864), who was born in the village of Tršić near Loznica, Republic of Serbia. Uskufije (1601 / 1602.-?), Born in Dobrinja near Tuzla. Two important guslars and narrators of epic folk songs, Filip Višnjić (1767-1834) and Avdo Medjedović (1875-1953), are unequally present in the memory and symbolic content of the national groups to which they belong, even if the difference in quality is on the side of the almost forgotten. Avdo Medjedovic, the “Balkan Homer”, is known at Harvard University, but very little is known in Bosnia and Herzegovina. And while we learned everything about the murderer Gavril Princip, enlightened by the “logic of an idea” (Hannah Arendt) symbolizing him as a “national hero”, we knew nothing, nor should we have known, about Muhamed Hadžijamaković, a Bosnian patriot and legal soldier, he did not kill a single pregnant woman , a fighter in the Bosnian Army who fought against the Austro-Hungarian occupation of Bosnia and Herzegovina in 1878. When it comes to World War II and the fight against fascism are full of hero stories. For one example, we will take Srebrenica, the place of genocidal suffering of Bosniaks. Before the war against Bosnian society and the state 1992-1995. in Srebrenica, the elementary school was called Mihajlo Bjelakovic, a partisan, born in Vidrići near Sokolac. Died in Srebrenica in 1944. The high school in Srebrenica was named Midhat Hacam, a partisan born in the vicinity of Vares. It is not a problem that these two educational institutions were named after two anti-fascists, whose individual work is not known except that they died. None of them were from Srebrenica. That's not a problem either. Then what is it. In the collective memory of Bosniaks. Until recently, the name of the two Srebrenica benefactors and heroes who saved 3,500 Srebrenica Serbs from the Ustasha massacre in 1942, who were imprisoned by the Ustashas in the camp, has not been recorded. These are Ali (Jusuf) efendi Klančević (1888-1952) and his son Nazif Klančević (1910-1975). Nothing was said about them as anti-fascists, most likely that Alija eff. Klančević was an imam-hodža, his work is valued according to Andrić's “logic” as a work that cannot “be the subject of our work” In charity, humanitarian work, but also courage, sacrifice, direct participation in the fight for defense, the strongest Bosniaks do not lag behind Bosniaks, but just like Bosniaks, they are not symbolically represented in the public space of Bosnia and Herzegovina. We had the opportunity to learn about the partisan Marija Bursać and many others, but why the name Ifaket-hanuma Tuzlić-Salihagić (1908-1942), the daughter of Bakir-beg Tulić, was forgotten. In order to feed the muhadjers from eastern Bosnia, Ifaket-hanum, despite the warning not to go for food to Bosanska Dubica, she left. She bravely stood in front of the Ustashas who arrested her and took her to Jasenovac. She was tortured in the camp and eventually died in the greatest agony, watered and fried with hot oil. Nothing was known about that victim of Ustasha crimes. Is it because she is the daughter of Bakir-beg Tuzlić. Bey's children were not desirable in public as benefactors because they were “remnants of rotten feudalism”, belonging to the “sphere of another culture”. In this paper, we have mentioned other, concrete, examples of Bosniak monasticism, from the symbolic content of the entire public space to naming children.
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Overstreet, Michael F., and Alice F. Healy. "Item and order information in semantic memory: students’ retention of the “CU fight song” lyrics." Memory & Cognition 39, no. 2 (November 16, 2010): 251–59. http://dx.doi.org/10.3758/s13421-010-0018-3.
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Owen, Hugh. "‘I SHALL MAKE FIVE SONS OF MINE FIGHT FOR THEIR KING AND COUNTRY’: THE NAVAL SONS OF WILLIAM IV AND MRS JORDAN." Mariner's Mirror 83, no. 1 (January 1997): 41–61. http://dx.doi.org/10.1080/00253359.1997.10656628.
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Miftakhur Ridlo. "TAFSIR DAKWAH DALAM KIDUNG PANGILING." LISAN AL-HAL: Jurnal Pengembangan Pemikiran dan Kebudayaan 14, no. 1 (June 28, 2020): 195–218. http://dx.doi.org/10.35316/lisanalhal.v14i1.652.
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In a broad outline, the interpretation of Da'wah in Kidung Pangiling by Imam Malik includes 4 types. They are about the creed or faith, sharia or worship, morals and culture. The following is a song about faith: “2006 luweh gede tekane bendu Ilang imane syetan ketemu Rusak ikhlase ramene padu Ilmu amale syetan seng digugu”. It has meaning that in 2006 there were greater trials that came, the loss of faith and meeting with shaitan, the loss of sincerity and the fight, the use of demonic science. The next one is a song about sharia: “Syahadat limo sing di ugemi Satriyo piningit yo imam Mahdi Ngetrapno hukum lewat kitab kang suci Sing ora pisah dawuhe nabi”. The meaning of that song is the five creeds is held, Satria Piningit O Imam Mahdi, carrying out the law through the scripture, which will not be separated from the words of the Prophet. Furthermore a song about morals: “Mulo sedulur kudu seng akeh syukure Marang wong kuno tumprap bahasane Anane pepeling sing supoyo ati – ati uripe Cak biso selamet ndunyo akhirate”. It has meaning that you have to be thankful, speak delicately with parents, reminders to be careful, become able to survive the afterlife. The last is a song about culture: “Negoro Ngastino wis kompak banget Nyusun kekuatan supoyo menang lan selamet Negoro Ngamarto supoyo ajur lan memet Ngedu pendowo sampek dadi gemet”. That meaning is Ngastino have jointly arranged forces to win and survive. So that Ngamarto was completely destroyed and pandawa complained to become cowards.
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Edwards, Evan. "Fight Song on Mute: University Pep Band Member Noise Dosages and Noise-Induced Hearing Loss Knowledge." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 72–78. http://dx.doi.org/10.21091/mppa.2019.2013.
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The occurrence of noise-induced hearing loss (NIHL) can be detrimental to the future careers of student musicians. Few studies have focused on the noise exposure of student musicians within an indoor pep band as they performed during university basketball games. The purpose of this longitudinal study was to assess: (a) the status of noise dosages acquired via personal noise dosimeters from two pep band players as they performed over nine men’s basketball games spanning three seasons, (b) perceived effectiveness of earplugs on the primary participants, and (c) the status of all band members’ (n=72) knowledge of hearing loss and hearing loss prevention. The noise dosages accrued by primary participants in each game over the three seasons greatly exceeded the National Institute for Occupational Safety and Health’s (NIOSH) recommendation regarding safe daily noise exposure time. Participants occasionally reported that the earplugs did not provide sufficient protection from noise or contributed to communication and intonation issues. Questionnaire responses from band members demonstrated a mild deficiency in hearing loss knowledge. Two-thirds of pep band members reported that they did not always wear hearing protection at pep band functions. Exceeding standard noise dosage recommendations without hearing protection potentially leaves these individuals at a high risk for permanent hearing loss.
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Sanka, Confidence Gbolo, Charity Azumi Issaka, and Portia Siaw. "The Mythopoetics of Atogun’s Fight Against Political Corruption in Nigeria: A Comparative Analysis of Taduno’s Song and Orpheus Myth." International Journal of Comparative Literature and Translation Studies 9, no. 2 (July 25, 2021): 6. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.2p.6.
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The aim of this paper is to examine the correlation between the Orpheus Myth and Atogun’s novel Taduno’s song through the lense of mythopoetics. It also aims at analysing the manner in which the eponymous hero fights against political corruption in particular in Nigeria. The study is important because it enables us discover the ways in which Atogun adapts the Orpheus myth and marries it to his own strategy of fighting corruption so as to address the contemporary political situation in his country, Nigeria. The primary data for this paper is the novel Taduno’s song and the Orpheus myth. Secondary data in the form of works and papers on myth and mythmaking as well as on political corruption have been reviewed and used to support arguments in this paper. A close reading method has been used to analyse words, expressions, situations and contexts in the primary sources in terms of themes and style. The secondary sources have mainly been used to adduce evidence in support of arguments in the paper. The study establishes that Atogun adapts the Greek myth to the Nigerian situation in order to bring the contemporary political situation of his country to the fore. This is because the Orpheus myth encapsulates universal themes that allow it to be adapted to the present century. The study also concludes that evidence from the narrative indicates that in addition to stronger institutions, Africa also needs stronger, morally principled, courageous and selfless citizens who can rise against political corruption anywhere it rears its ugly head in the continent.
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Van Kessel, Cathryn, and Muna Saleh. "Fighting the plague: “Difficult” knowledge as sirens’ song in teacher education." Journal of Curriculum Studies Research 2, no. 2 (November 28, 2020): 1–20. http://dx.doi.org/10.46303/jcsr.2020.7.
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Of the many plagues that affect communities today, a particularly insidious one is indifference and depersonalization. This plague has been articulated by Albert Camus and then taken up in an educational context by Maxine Greene. In this article we, the authors, respond to Greene’s call to co-compose curricula with our students to fight this plague. Recognizing the role of difficult knowledge as well as conscious and unconscious defenses, we develop an approach to “diversity” harmonious with radical love during these troubled times of conflict and increased visibility of hatred. Through a weaving of our experiential, embodied knowledge with theory, we consider how we might invite students to consider contemporary, historical, and ongoing inequity and structural violence. Like Sirens luring sailors to precarious shores, we seek to entice teachers and students to the difficult knowledge they might otherwise avoid as all of us together consider our ethical responsibilities to each other.
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Nish, Bonnie Lynn. "A Review through Dialogue: Ruthann Knechel Johansen’s “Listening in the Silence, Seeing in the Dark: Reconstructing Life after Brain Injury”." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 349–63. http://dx.doi.org/10.18432/ari29371.
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As educators, we never know what stories our students may be carrying with them. This book holds insights and treasures for anyone who has been witness to or experienced the hard fight back from a near fatal trauma and the resulting loss of identity. As educators, researchers, and parents it is important to understand the difficult struggle of returning to life after suffering from a traumatic brain injury. This book is a beautiful and heart-wrenching testament to that struggle, and the ripple-effect through family, friends, and community when circumstance changes an individual’s life in an instant. Ruthann Knechel Johansen has opened up many spaces which allow for contemplation, examination, and ultimately a dialogue in response to her son’s car accident and subsequent coma and traumatic brain injury.
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Neyra, Ren Ellis. "Salsa’s Unruly Audition." Journal of Popular Music Studies 31, no. 1 (March 1, 2019): 65–86. http://dx.doi.org/10.1525/jpms.2019.311008.
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This essay shows how salsa stimulates unruly audition. It responds to that stimulation by performing multi-sensorial poetic listening with the excessive, tender, and queer audio-visual sabores [tastes], gestures, and details of two live performances by the musicians and singers contracted to Fania in the 1970s, one in Yankee Stadium in the Bronx in 1973 and the other in 1974 at Zaire ‘74 in Kinshasa, a music festival of Afro-Latinx, brown, and black sonic solidarity headlining the Ali-Foreman Rumble in the Jungle fight. A riot of audience ended the All-Stars’ set at the 1973 Bronx concert. Their insurgent pleasure compels us to think unruliness with salsa’s listeners, and re-imagine Latinx as a riotous movement of brown and black swerving aesthetic convergences. The essay enacts a deviant and sonically oriented close reading of Héctor Lavoe’s vocals in the song “Mi Gente” [My People], in part, for their attunement precisely to audience and playful dynamics with the band. In this song, Lavoe cries out to “anormales” [abnormals], a sign re-imagined here as an off-kilter feeling for salsa and a multi-sensorial opening for more errant ruptures.
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Lansing, Charles B. "Aristocratic Eigensinn and the Fight to Save the Ritterakademie am Dom, 1935–1945." Central European History 43, no. 2 (May 13, 2010): 239–69. http://dx.doi.org/10.1017/s0008938910000026.
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In the early morning of May 26, 1935, some residents of the eastern German city of Brandenburg an der Havel awoke to shouts of “We Want Our Kaiser Back” and “We Want Back the Black-White-Red” emanating from the dormitory of the storied and elite Prussian secondary school, the Ritterakademie am Dom zu Brandenburg. A small number of students had thrown an illegal party during which, emboldened by alcohol, at least one student had called for the restoration of the monarchical order, to the audible delight of others present. Informed of the night's events on the following Monday, school authorities quickly investigated the matter and decided that the episode represented neither a genuine act of political subversion nor a reflection of possible “reactionary” attitudes held by the students. The utterances were instead an act of foolishness (Dummheit) committed by immature pupils, the consequence of the more serious and perennial problem of students' drinking parties, concluded the Ritterakademie administration. In response, school principal Georg Neuendorf punished several older pupils by removing them from their position atop the student hierarchy and revoking several privileges. He also wrote to all parents of students boarding at the Ritterakademie, asking them no longer to send their sons money, food, and alcohol. Satisfied with his response, the principal ended his report on the incident to his superiors in Berlin, the Oberpräsidium of Brandenburg Province, by noting optimistically that the episode would be of pedagogical use in the continued “Nazification” of the school. In what must have seemed to those involved to signal the end of the affair, regional authorities approved of Neuendorf's actions three days later, concluding that the drunken utterances were a “foolish youth's prank” (dumm[es] junge Streich).
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Stachura-Lupa, Renata. "O "Polskiej pieśni niepodległej" Jana Lorentowicza." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 75–85. http://dx.doi.org/10.24917/20811853.18.6.
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The paper presents the work of Jan Lorentowicz Polska pieśń niepodległa, published before Poland regained its independence (fragments published in 1915/1916 (no. 1–2), a separate publication of the whole – 1917). This work is among those texts written by Lorentowicz which have been forgotten. Nevertheless, it is the evidence of the critic’s erudition, literateness and passion for patriotic poetry, as well as a depiction of social mood during the Great War. According to Lorentowicz, an independence song is inspired by collective experiences – of servitude, conspiracy and national liberation uprisings – shared by subsequent generations of Polish poets and poetry readers. It is a testimony of an ‘irrepressible’ Polish spirit, the faith of the nation in regaining independence and existing against all odds; it is also a record of its fight and martyrdom.
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Wise, Jennifer. "L'ENFANT ET LE TYRAN:“LA MARSEILLAISE” AND THE BIRTH OF MELODRAMA." Theatre Survey 53, no. 1 (April 2012): 29–57. http://dx.doi.org/10.1017/s0040557411000950.
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Whether through its association with 1789 or 1830, with the German labor movement of the nineteenth century, or the fight against fascism in the twentieth, the stirring sound of the national anthem of France is familiar to us all.1(And film buffs everywhere have a powerful image of this last association thanks to the unforgettable depiction of the song inCasablanca.) Less well known is that this famous song, though feared during the 1790s as the terrorist “chant” of the guillotine,2also provided René-Charles Guilbert de Pixérécourt with the ingredients, and a ready-made dramaturgical recipe, for inventing a new theatrical genre.3With its simple division of the world into vulnerable, imperiledenfantson the one hand, and powerful, plottingtyranson the other, and its demand that the latter be killed, “La Marseillaise” may well have helped to stoke the fire of the Terror and certainly helped legitimize its violence. But in terms of its plot, characters, and politicomoral thought, even in terms of its diction and spectacle,4“La Marseillaise” also laid down the dramaturgical rules for playwriting in revolutionary Paris, showing the father of melodrama how to make for the happiness of theenfants de la patrie—those in the audience and those on the stage.
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Sánchez Cabrera, Noemí Gabriela. "Voces y dramatizados de reivindicación: La experiencia en una comunidad rural de Ecuador." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 163–82. http://dx.doi.org/10.33732/ixc/09/02vocesy.
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This paper describes how radio and theatre joint together in a rural community in Ecuador as instruments for women’s rights claiming, highlighting their roles in the public sphere. By means of a qualitative methodology with focus groups, women could show their reality, enclosed in a patriarchal culture that reflects the different faces of violence against women. This action research shows as results that woman´s role as a social subject is invisible and that inequality of roles at household chores affects the woman and that this practice is strongly reinforced in the discourse towards sons and daughters at these homes. Given these circumstances, in edu-communication framework, both radio and theatre stand out with a social and liberating approach in the fight for equal rights and opportunities in men and women relationships. Keywords: Radio; Theater; Patriarchal Culture; Edu-communication; Equality.
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Overstreet, Michael F., Alice F. Healy, and Ian Neath. "Further differentiating item and order information in semantic memory: students’ recall of words from the “CU Fight Song”, Harry Potter book titles, and Scooby Doo theme song." Memory 25, no. 1 (December 29, 2015): 69–83. http://dx.doi.org/10.1080/09658211.2015.1125928.
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Villet, Martin H., Allen F. Sanborn, and Polly K. Phillips. "Endothermy and chorusing behaviour in the African platypleurine cicada Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae)." Canadian Journal of Zoology 81, no. 8 (August 1, 2003): 1437–44. http://dx.doi.org/10.1139/z03-119.
Full textAbstract:
Cicadas use acoustic signals to find mates and therefore offer a phylogenetically independent opportunity to test the generality of ideas about acoustic communication that were developed from studies of other animals. Pycna semiclara (Germar, 1834) (Hemiptera: Cicadidae) is a forest-dwelling platypleurine cicada that uses its calling song to form choruses and attract mates. Additionally, P. semiclara produces an encounter call that is involved in courtship and also in spacing males within choruses. Males generally call from exposed trunks and branches within the understory but clear of the undergrowth and fight with other males that call within about 50 cm of them. Choruses sing sporadically throughout the day but focus most of their calling activity into half-hour bouts at dawn and dusk. Body size and ambient temperature had no significant effect on spectral or temporal characteristics of the calling song. Body temperature measurements indicate that P. semiclara thermoregulates endothermically, with a body temperature of more than 22 °C above ambient temperature being measured during calling activity at dusk. Such endothermy provides an advantage to the cicadas by allowing them to call during crepuscular hours when atmospheric conditions are most optimal for acoustic communication and predation risks are minimal. Coincidentally, endogenously regulating body temperature allows the temporal characteristics of the call to be unaffected by ambient temperature changes.
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 1-2 (January 1, 2001): 123–88. http://dx.doi.org/10.1163/13822373-90002561.
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